Illiad & Odyssey
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Peter Saccio
William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Peter Saccio THE TEACHING COMPANY ® Peter Saccio, Ph.D. Leon D. Black Professor of Shakespearean Studies Dartmouth College Peter Saccio has taught at Dartmouth College since 1966. He chaired the English department from 1984 to 1988; in addition, he has won Dartmouth’s J. Kenneth Huntington Memorial Award for Outstanding Teaching. He has served as visiting professor at Wesleyan University and at University College in London. He received a B.A. from Yale University and a Ph.D. from Princeton. He is the author of The Court Comedies of John Lyly (1969) and Shakespeare's English Kings (1977), the latter a classic in its field. He edited Middleton’s comedy A Mad World, My Masters for the Oxford Complete Works of Thomas Middleton (1996). He has published or delivered at conferences more than twenty papers on Shakespeare and other dramatists. Professor Saccio has directed productions of Twelfth Night, Macbeth, and Cymbeline. He has devised and directed several programs of scenes from Shakespeare and from modern British drama, and he served as dramaturg for the productions of his Dartmouth colleagues. He has acted the Shakespearean roles of Casca, Angelo, Bassanio, and Henry IV as well as various parts in the ancient plays of Plautus and the modern plays of Harold Pinter, Tom Stoppard, and Peter Shaffer. ©1999 The Teaching Company Limited Partnership i Table of Contents William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Biography ........................................................................................... i Foreword .......... ................................................................................................. 1 Lecture One Shakespeare Then and Now...................................... 3 Lecture Two The Nature of Shakespeare’s Plays.......................... -
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition. -
Pantysyllya As Virgin Warrior in Lydgate's Troy Book
CORE Metadata, citation and similar papers at core.ac.uk Provided by Iowa Research Online ESSAYS NOT QUITE ONE OF THE GUYS: PANTYSYLLYA AS VIRGIN WARRIOR IN LYDGATE'S TROYBOOK In her book Blood Rites: Origins and History ofthe Passions of War, Barbara Ehrenreich tells us, "War is, in fact, one of the most rigidly 'gendered' activities known to mankind" (125), Since John Lydgate's Troy Book focuses on the Trojan War, and his patron King Henry V wished to promote the masculine code of chivalry through the work (Lydgate Prologue 71-83),' we cannot be surprised that Lydgate's Troy is a highly gendered world. Male characters in the Troy Book are generally knights (Bornstein 8-9), while female characters, like most women in romances, are excluded from warfare and public speaking and merely observe and grieve over battles (Allaire 36). Predictably, Lydgate's descriptions of his characters are also rigidly gendered. Lydgate attributes some qualities, such as beauty, wisdom, and worthiness, to both sexes. But he consistently attributes bravery, strength, chivalry, prowess, manhood, and anger only to male characters and generally assigns femininity, fidelity, and chastity to female characters. But Lydgate blurs and violates his rigidly gendered characterizations in one case: the Amazon Queen Pantysyllya, as she is called in the text, or Penthesilea, as she is generally called in translation and scholarship. Lydgate's first description of her emphasizes her womanliness and chastity as well as her martial attributes (Troy Book 4.3811; 4.4817-19); she indulges in cross-gendered acts such as weeping. More importantly, her femaleness is never disguised or denied, even when she engages in battle." Lydgate always uses feminine pronouns and the feminine title queen for her. -
Chaucer's Depiction of Women in Troilus and Criseyde
DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 4-2020 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Follow this and additional works at: https://scholarship.depauw.edu/studentresearch Part of the Literature in English, British Isles Commons Recommended Citation Balis, Vanessa, "Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde" (2020). Student research. 133. https://scholarship.depauw.edu/studentresearch/133 This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. Balis 1 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Honor Scholar Program Class of 2020 Primary Thesis Sponsor: Dr. Amity Reading Committee Members: Dr. Nicole Lobdell and Dr. Jonathan Nichols-Pethick Balis 2 Abstract Often considered the father of English poetry, Geoffrey Chaucer (ca. 1340s-1400 CE) produced a number of famous poems during his lifetime, the most famous arguably being The Canterbury Tales. But another of his works, Troilus and Criseyde, is often considered the best example of both his poetic ability and his creative use of sources.1 In this thesis, I will be considering whether Chaucer supports or subverts a patriarchal social structure, specifically by looking at his representation of women in Troilus and Criseyde in comparison to his source Giovanni Boccaccio’s Il Filostrato. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Listening for the Plot: The Role of Desire in the Iliad's Narrative Permalink https://escholarship.org/uc/item/5mk193gc Author Lesser, Rachel Hart Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Listening for the Plot The Role of Desire in the Iliad’s Narrative By Rachel Hart Lesser A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mark Griffith, Chair Professor Leslie Kurke Professor Richard P. Martin Professor Andrew Stewart Professor James G. Turner Spring 2015 © Copyright by Rachel Hart Lesser, 2015. All rights reserved. 1 ABSTRACT Listening for the Plot: The Role of Desire in the Iliad’s Narrative by Rachel Hart Lesser Doctor of Philosophy in Classics and the Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Mark Griffith, Chair This dissertation is the first study to identify desire as a fundamental dynamic in the Iliad that structures its narrative and audience reception. Building on Peter Brooks’ concept of “narrative erotics,” I show how the desires of Akhilleus and his counterpart Helen drive and shape the Iliad’s plot and how Homer captures and maintains the audience’s attention by activating its parallel “narrative desire” to plot out the Iliad’s unique treatment of the Trojan War story. I argue that Homer encodes the characters’ desires in repeated triangles of subject, object, and rival, and that Akhilleus’ aggressive desires to dominate his rivals Agamemnon and Hektor cause the heroism and suffering at the poem’s heart. -
The Many Faces of Aeneas in Medieval English Literature
Joanna Scott. “Betraying Origins: The Many Faces of Aeneas In Medieval English Literature. LATCH 3 (2010): 64-84. Betraying Origins: The Many Faces of Aeneas in Medieval English Literature Joanna Scott University of California-Riverside Abstract While to many, Aeneas is primarily known as the hero of Virgil’s Aeneid, there are separate traditions in medieval literature which portray him as a traitor. Chaucer’s Hous of Fame and Legend of Good Women both focus on Aeneas’s romantic betrayal of Dido, and the anonymous Laud Troy Book depicts Aeneas as a treacherous villain to the city and king of Troy. In all of these poems he enjoys deceiving those who trust him and constantly plots to advance himself at the expense or destruction of others. Yet it is this same treasonous Aeneas whom medieval England proudly constructs as one of its mythical ancestors, as the opening lines to Sir Gawain and the Green Knight show. Ultimately, the multiple constructions of Aeneas and the fact that late medieval England bases its own mythology on a tradition fractured by treason and betrayal can be linked to the larger cultural discourse of treason and origins in England during the reigns of Richard II and Henry IV. Keywords Aeneas, Laud Troy Book, treason, Chaucer, Hous of Fame, Legend of Good Women, Troy, betrayal, Richard II, Sir Gawain and the Green Knight, Richard Firth Green. Near the end of the Laud Troy Book, as Troy and its people are falling to Greek slaughter and chaos, the just-widowed queen Hecuba finds her son-in-law, Aeneas, and demands that he help hide her and her daughter Polyxena. -
TRUTH, TRANSLATION, and the TROY BOOK WOMEN by Lynn
TRUTH, TRANSLATION, AND THE TROY BOOK WOMEN by Lynn Shutters When one thinks of the great writers of Middle English verse, John Lydgate is not likely to come to mind. Lydgate’s vast corpus of writing has often been relegated to a somewhat embarrassing footnote in the annals of medieval literature, and it is relatively recently, in the last thirty years or so, that he has received any critical attention at all. De- spite some resurgence of interest in Lydgate, he is still frequently dis- missed as a deficient poet whose dullness nonetheless serves to empha- size just how exceptional other poets, particularly Chaucer, are in com- parison.1 The casting of Lydgate as Chaucer’s eager yet ineffective disciple figures prominently in studies of Lydgate’s Troy Book, a work that provides ample opportunity for comparison with Chaucer because it includes the pseudo-classical myth of Troilus and Cressida, and be- cause Lydgate himself repeatedly refers to and compares his work with Troilus and Criseyde. How Lydgate depicts himself vis-à-vis his “Maister Chaucer” is certainly of some interest, as Chaucer’s colossal presence in Lancastrian England was both a sheltering aegis and a daunting challenge to poets working in the English vernacular. There are problems, however, with reading Lydgate solely in Chaucer’s shadow, for when we allow the Chaucerian sections of the Troy Book to serve as a stand-in for the work as a whole, other parts of the text, those parts which do not relate so directly to a literary giant, are all but ig- nored. -
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. -
Troilus and Cressida
Dating Shakespeare’s Plays: Troilus and Cressida The Tragedie of Troylus and Creſsida. his play can be dated any time between [Qa, 1609] THE HISTORIE OF TROYLUS Arthur Hall’s translation of the first ten / and Cresseida / As it was acted by the Kings books of Homer’s Iliad in 1581 and its Maiesties servants at the Globe / Written by Tpublication in the Quarto of 1609. William Shakespeare [Qb, 1609] THE / Famous Historie of / Troylus and Cresseid./ Excellently expressing the Publication beginning / of their loves, with the conceited wooing of Pandarus Prince of Litia / Written by The process of publication is full of surprises, William Shakespeare / LONDON / Imprinted which have not been explained satisfactorily. The by G. Eld for R. Bonian and H. Walley, and play was entered conditionally into the Stationers’ / are to be sold at the spred Eagle in Paules / Church-yeard, over against the / great North- Register in February 1603: doore. / 1609 [SR, 1603] 7 februarii. Master Robertes. Entred for his copie in full Court holden this day, to Secondly, the Preface to Qb contains the print when he hath gotten sufficient authority following address to the reader (omitted from Qa for yt. The booke of Troilus and Cresseda as yt and from the First Folio) in which it asserts that is acted by my lord Chamberlins Men. vjd. the play had not been publicly performed: It is not clear who would have provided A neuer writer, to an euer / reader. Newes. “sufficient authority” and there is no evidence that it was published in 1603. A play of the same Eternall reader, you have heere a new play, never stal’d with the Stage, never clapper-clawd with name was registered in January 1609 by different the palmes of the vulger, and yet passing full of the publishers, Richard Bonian and Henry Walley, palme comicall; for it is a birth of your braine, that and it was printed by George Eld: never undertooke any thing commicall, vainely: And were but the vaine names of commedies [SR, 1609] 28 Januarii. -
Shakespeare's Deconstruction of Exempla in Troilus and Cressida
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive Shakespeare’s Deconstruction of Exempla in Troilus and Cressida A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for a Master of Arts Degree in the Department of English University of Saskatchewan, Saskatoon By Elizabeth Laura Wightman © Copyright Elizabeth Laura Wightman, September 2005. All rights reserved i PERMISSION TO USE In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of English 320 Arts Tower 9 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 ii Abstract Literature and theatre have traditionally used exempla based on historical or classical models as a fundamentally conservative rhetorical technique which aimed to reinforce pre-existing values. -
WRAP THESIS Kenward 2011.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/51462 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. ‘Memory Wrapped Round a Corpse’ A Cultural History of English Hecubas By Claire Kenward A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature. University of Warwick Department of English and Comparative Literary Studies June 2011 2 CONTENTS List of Illustrations 4 Acknowledgements 5 Declaration 6 Thesis Abstract 7 Prefatory Note 8 Prologue: Introduction and Methodology 9 1. Songs of Rage 9 2. Time and History 20 Chapter One: Enter Hecuba 41 1. ‘The Queen of Knives’ 41 2. ‘The News that Stays News’ 63 3. The Thrice Mobled Queen 96 Chapter Two: ‘What’s Hecuba?’ 104 1. ‘Empty Dreams, Empty Words. All Rots into Nothing’ 107 2. ‘The Mother Bird at her Plundered Nest’ 125 Chapter Three: Memory by Other Means 140 1. Matres Dolorosae 140 2. ‘Mirror upon Mirror, Mirrored is all the Show’ 142 3. Our Lady of Sorrows 164 Chapter Four: Early English Hecubas 179 1. A Tale of Two Troys 181 2. Hecuba, ‘as myne Auctor recordeth eke also’ 195 3. Hecuba, in ‘Oure Englissh Tonge’ 212 3 Chapter Five: Hecuba, Humanism and Hauntings - Part One 224 1. -
The Illustrations of Lydgate's Troy Book: the Visual Revitalization of a Literary Tradition in the Fifteenth-Century England Tammy Y
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Illustrations of Lydgate's Troy Book: The Visual Revitalization of a Literary Tradition in the Fifteenth-Century England Tammy Y. Whitehead Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE ILLUSTRATIONS OF LYDGATE’S TROY BOOK: THE VISUAL REVITALIZATION OF A LITERARY TRADITION IN FIFTEENTH-CENTURY ENGLAND By TAMMY Y. WHITEHEAD A Dissertation submitted to the Program of Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Tammy Y. Whitehead defended this dissertation on April 16, 2015. The members of the supervisory committee were: David F. Johnson Professor Direction Dissertation Jack Freiberg University Representative David Gants Committee Member Svetla Slaveva-Griffin Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii TABLE OF CONTENTS List of Figures ................................................................................................................................ iv Abstract ............................................................................................................................................v INTRODUCTION ...........................................................................................................................1