Illinois Classical Studies, Volume Iv
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7 Butchering Girls
7 BUTCHERING GIRLS Red Riding Hood and Bluebeard For heroines of the ‘innocent slandered maiden’ type we can expect a murder attempt, but the tale does not really centre on the murder episode as such, and the heroine for her part does not do a great deal to avert her fate, although she may show considerable initiative in variants where she is disguised as a man. Other tale-plots are, however, considerably more inclined to indulge an appetite for ghoulish horror, at times apparently for its own sake, and the ‘compassionate executioner’ is not likely to be on standby either. Tales of plucky young girls who elude being devoured or murdered by an animal or human predator are well entrenched in the modern repertoire. The best known are Little Red Riding Hood (Little Redcap) and Bluebeard; both are often felt to be tales of relatively limited distribution and obscure early history. Once more there is a great deal of further exploration still to be done. Red Riding Hood (AT Type 333)1 The Perrault version of Little Red Riding Hood is the first available example of the modern tale, and also the best known: The girl in the red cape has to cross the wood on an errand to her grandmother. In conversation the wolf elicits details of her errand, comes to the grandmother’s house by a different route, and swallows both. Not until the Grimms does there appear to be a happy ending, in which the wolf is forced to disgorge the victims still alive and is then himself killed by having his belly weighted with stones; a second wolf in a clumsy doublet attack is then drowned in a water butt. -
MYTHS R, 44ORSE 'MYTHOLOGY ANNA
NOS0-430 ERIC REPORT RESUME ED 010 139 1 a.09.0.67 24 QRE VI NYTHS,..*LAI MATURE ORR ICULUM: STUDENT VERS IOU. it I TZH ABER RaR60230', &.14IVERS ITV OF mesa* =MESE CRP -Pi 449-10 RR- 5.11360-v40 ..45 ED itS C E MP'S Os 13 HC..424i60 cop it SEVENTH GRADE, *STUDY -GUIDES, *CURRIE Cdi.UN GUIDES, -*LITERATURE* *NYTHOLOGY. - ENGLISH C URRI GUM. -LITERATURE PROGRAMS EUGENE, OREGON PROJECT ENGL. UN, NB4 GRAMMAR PRESENTED- HERE WM A ,STUDY t-S_VI OE: FOR.STUDENT USE; A .-SEWENTHGRADE L/ TER ATUR E CURRI CULUNT I NTROOUCTOLir XATER/AL los PaesENTE0 ON GREEK MYTHS r, 44ORSE 'MYTHOLOGY ANNA :. AMERICAN INDIAN r prIfiquisfeatsivoir GUEST IONS SUGGESTED A CT I VItIES9 AND Ass REFERENCE soft of PITIliS VritE PRESENTED. AN ACCONIANY-INS *GUIDE WAS PREPARED FOR TEACfrIERS EL) 010 140I e: UN/ .0) rave:t e PT.PARThMIT EnUCI1.11%; ante wet rA.RE Office of Education mils document has been reproduced exactly as received from the person or organ:zat:on originating it. Points of view or .op':nions stated do not necessarily represent official -Office of Education position or policy. OREGON CURRICULUM,. STUDY CENTER Trri-S"lir" in 11.3 Literature Curriculum I Studait Version The project reported heksinwas supported through the Cooperative Research Program ofthe Office of Education, U, S. Department of Health,Education, and Welfare. 4 4 r 7777*,\C 1,,IYTHS General. Introduction How was the world made? Where did the first people live? Why are we here? To all of these questions people have sought answers for thousands of years. -
Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse. -
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. -
The Social and Political Context for Obstruction in Roman Love
THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY K. LEONARD (Under the Direction of Charles Platter) ABSTRACT This thesis will examine the presence of erotic obstruction in the poems of the first century B.C. writers of Roman love elegy: Tibullus, Propertius and Ovid. While erotic poetry prior to this time period had long necessitated a sense of obstruction, the deliberate construction of a failed love-affair by the Roman elegists serves to define their particular use of obstruction as a unique discursive strategy. The observation has been made that the time period marking the emergence and disappearance of Roman elegy qualifies it as a discrete, time-bound genre. In light of these time considerations, the obstruction motif in elegy, as a means of articulating a continual sense of failure, is capable of giving involuntary voice to events taking place on the Roman socio-political front, specifically, as this thesis will argue, a perceived loss of autonomy under the changing political structures at the end of the Republic. INDEX WORDS: Obstruction, Roman love elegy, Tibullus, Propertius, Ovid, Door, Vir, Lena, Illness, Distance, Unfaithfulness, Amores 2.19, Amores 3.4 THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY KIRK LEONARD B.A., The University of Georgia, 1996 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 Amy Kirk Leonard All Rights Reserved THE SOCIAL AND POLITICAL CONTEXT FOR OBSTRUCTION IN ROMAN LOVE ELEGY by AMY KIRK LEONARD Major Professor: Charles Platter Committee: Keith Dix Nancy Felson Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2004 DEDICATION I dedicate this thesis to my husband, David Leonard, without whose unconditional support during my years in graduate school I would never have made it to the completion of this degree. -
2019 Harvard Certamen Novice Division Preliminary Rounds
2019 HARVARD CERTAMEN NOVICE DIVISION PRELIMINARY ROUNDS 1 2019 HARVARD CERTAMEN NOVICE DIVISION ROUND 1 1. What boy, whose head was on fire as he slept, was adopted by an Etruscan couple and eventually became the sixth king of Rome? SERVIUS TULLIUS B1: Name the Etruscan couple who adopted Servius Tullius. TARQUINIUS PRISCUS / LUCOMO & TANAQUIL B2: According to some accounts, Servius Tullius’s mother was Ocrisia, who held what status in Tarquinius Priscus’s palace? SLAVE(WOMAN) 2. While Amphitryon was at war, which Olympian god assumed his form to seduce his wife, Alcmene? ZEUS (not Jupiter, because Alcmene, not Alcmena is given) B1: Who, the famous child of Alcmene and Zeus, would go on to perform many incredible tasks? HERACLES (not Hercules) B2: Who, Alcmene’s other son by Amphitryon, paled in comparison to his heroic brother? IPHICLES 3. What is the meaning of the Latin verb sedeō? TO SIT B1: What is the meaning of the Latin verb cedō? TO YIELD B2: What is the meaning of the Latin verb moneō? TO WARN / ADVISE 4. By crossing the Rubicon, what man precipitated the Roman Civil War? JULIUS CAESAR B1: In which year did Julius Caesar cross the Rubicon? 49 B.C. B2: At that time, the Rubicon was considered the boundary between Italy and what Roman province, of which Caesar had been governor? CISALPINE GAUL 5. In support of the Greeks, which shrewd goddess convinced the Zeleian chieftain Pandarus to fire an arrow that broke the truce between the Greeks and Trojans at Troy? ATHENA B1: Which Greek chieftain, the brother of Agamemnon, did Pandarus hit in the belt with the arrow? MENELAUS B2: Which Olympian god taught Pandarus archery? APOLLO 6. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
Lucius Annaeus Seneca (Seneca the Younger)
LUCIUS ANNAEUS SENECA (SENECA THE YOUNGER) “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Seneca the Younger HDT WHAT? INDEX SENECA THE YOUNGER SENECA THE YOUNGER 147 BCE August 4: On this date the comet that had passed by the sun on June 28th should have been closest to the earth, but we have no dated record of it being seen at this point. The only Western record of observation of this particular periodic comet is one that happens to come down to us by way of Seneca the Younger, of a bright reddish comet as big as the sun that had been seen after the death of the king of Syria, Demetrius, just a little while before the Greek Achaean war (which had begun in 146 BCE). ASTRONOMY HDT WHAT? INDEX SENECA THE YOUNGER SENECA THE YOUNGER 2 BCE At about this point Lucius Annaeus Seneca was born as the 2d son of a wealthy Roman family on the Iberian peninsula. The father, Seneca the Elder (circa 60BCE-37CE) had become famous as a teacher of rhetoric in Rome. An aunt would take the boy to Rome where he would be trained as an orator and educated in philosophy. In poor health, he would recuperate in the warmth of Egypt. SENECA THE YOUNGER HDT WHAT? INDEX SENECA THE YOUNGER SENECA THE YOUNGER 31 CE Lucius Aelius Sejanus was made a consul, and obtained the permission he has been requesting for a long time, to get married with Drusus’ widow Livilla. -
The Myth of Re-Creation in Ovid's Metamorphoses
The Myth of Re-creation in Ovid's Metamorphoses Ahmed Fahmy Abdel Gawad Suez Canal University The subject of evolution, creation and re-creation in different civilizations is an important theme. In this research the creation in Greek and Roman thought, in terms of the beginning of God's creation without an origin, where the world was complete darkness, Chaos; and then his re-creation as he began after its utter destruction will be discussed. If this creation does not acquire some beliefs and qualities which are necessary for that life, roughness and cruelty will sustain, and the creation and the system of the world will be corrupted. These matters will be revealed by our research, beginning from the universe and the first creation, Prometheus, theft of the fire, and re-creation again through Deucalion and Pyrrha.1 If we look at the creation of the universe in Ovid and its relation to his interpretation of human creation and the early history of mankind, we will discover that the poet plays the role of the philosopher in an ironic way , the purpose of which is to present philosophy as the least degree of myth in the understanding of man and the world.2 In essence, the contrast between imagination and Ovid's formation of rationality in cosmogony does not help us absorb Ovid's own desire to support physics as a particular philosophical school or to present a theory of his own. In the first book of Metamorphoses, he proposes the mythological dimensions of the creation's myth and re-creation through poetry.3 He reduced the idea that the concept 1 Paschalis, M. -
Ancient Narrative Volume 6
Maecenas and Petronius’ Trimalchio Maecenatianus SHANNON N. BYRNE Xavier University This paper examines Petronius’ use of Maecenas as a model for specific behaviors and traits that Trimalchio exhibits throughout the Cena. At first glance Seneca’s distinct portrait of an effeminate Maecenas ruined by his own good fortune seems to have informed Petronius’ characterization of Trimalchio. I have argued elsewhere that the target of Seneca’s intense criti- cism of Maecenas was not Augustus’ long-dead minister, but rather a con- temporary who had replaced Seneca in influence at court; someone whose character and tastes were wanton compared to Seneca’s; someone who en- couraged Nero’s less savory tendencies instead of keeping them hidden or in check as Seneca and Burrus had tried to do; someone who resembled Mae- cenas in character and literary enthusiasm; in short, someone very much like Petronius himself. Petronius understood the implications in Seneca’s attacks on Maecenas, and as if to stamp approval on the fact that he and Maecenas were indeed alike in many ways, Petronius took pleasure in endowing his decadent freedman with the very qualities that Seneca meant to be demean- ing.1 Although my focus is on Maecenas, it is obvious that Petronius spared no effort in rounding out Trimalchio and all the freedmen at the banquet with mannerisms and conduct that would recall memorable literary characters in works from Plato’s Symposium to Horace’s Cena Nasidiensi and beyond.2 ————— 1 For a discussion regarding Seneca’s attacks on Maecenas and the argument that Petronius was their intended victim, see Byrne 2006, 83–111. -
Illinois Classical Studies, I
— View metadata, citation and similar papers at core.ac.ukbrought to you by CORE provided by Illinois Digital Environment for... 11 An Interpretation of Horace's Eleventh Epode GEORG LUCK Petti, nihil me sicut antea iuvat scribere versiculos amore percussum gravi, amore, qui me praeter omnis expetit mollibus in pueris aut in puellis urere. hie tertius December, ex quo destiti 5 Inachia furere, silvis honorem decutit. heu me, per urbem—nam pudet tanti mali fabula quanta fui, conviviorum et paenitet, in quis amantem languor et silentium arguit et latere petitus imo spiritus. 10 'contrane lucrum nil valere candidum pauperis ingenium' querebar adplorans tibi, simul calentis inverecundus deus fervidiore mero arcana promorat loco, 'quodsi meis inaestuet praecordiis 15 libera bilis, ut haec ingrata ventis dividat fomenta vulnus nil malum levantia, desinet inparibus certare summotus pudor.' ubi haec severus te palam laudaveram, iussus abire domum ferebar incerto pede 20 ad non amicos heu mihi postis et heu limina dura, quibus lumbos et infregi latus. nunc gloriantis quamlibet mulierculam vincere mollitia amor Lycisci me tenet; unde expedire non amicorum queant 25 libera consilia nee eontumeliae graves, sed alius ardor aut puellae candidae aut teretis pueri longam renodantis comam. This curious poem was called by Friedrich Leo plane elegia iambis concepta—a very apt description. It sounds paradoxical, and the poem is : Interpretation of Horace's Eleventh Epode 123 something of a paradox. Eduard Fraenkel^ tried a slightly different ap- proach. He thought that Horace here made full use of themes current in Hellenistic erotic poetry, especially erotic epigrams, as they are preserved in the Greek Anthology. -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 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, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.