The Death and Inheritance of Achilles

Total Page:16

File Type:pdf, Size:1020Kb

The Death and Inheritance of Achilles chapter 3 The Death and Inheritance of Achilles He’s gotta be larger than life1 ∵ The first five books of the Posthomerica may well be regarded as the first narra- tive cluster of the epic, starring Achilles as its central character. After two more of his victories, discussed in Chapter 2, the third book is dedicated to the death of the biggest Iliadic hero, which will automatically lead to the complex issue of his inheritance in Books 4 and 5.Vian outlines the central significance of Book 3 in this composition: in other traditions (Vian refers to Arctinus), Memnon and Achilles die on the same day. By postponing Achilles’ death to the next day and a new book, however, Achilles’ central place in the first five books is secured.2 The heritage of Achilles forms a bridge between the Iliadic past, personified by Achilles, and the future of the Trojan War without him. Perhaps unsurprisingly, then, Book 3 is marked by a remarkable amount of Homeric influence, even for Quintus, as he parts with this great hero.3 After Achilles dies an impressive death (section 3.1), both his material pos- sessions and his outstanding position in the hierarchy must be passed on to new champions. Plenty of opportunity for these new competitors to prove themselves is provided during the battle around Achilles’ corpse (section 3.2.2), in his funeral games (section 3.2.3.) and the judgment of arms (section 3.3). Among other heroes, Ajax and Odysseus make the most important claims. This chapter focuses on their successive attempts to obtain and maintain Achilles’ legacy in Posthomerica 3 to 5. These books are marked by their engagement 1 “Holding out for a Hero”—Bonnie Tyler. 2 Vian (1963 T1, 87–89). More observations about the coherence of the first five books ibid. (T1 9, 129, 132 and 1966 T2, 3). 3 “Aussi n’est-il aucun livre des Posthomériques où l’imitation homérique soit plus sensible et plus constante” (Vian 1963 T1, 87). Particularly the Patroclus episode and Book 24 of the Odyssey have to be taken into account. Also, Baumbach makes note of the meaningful, yet changing Homeric intertextuality throughout the first cluster of books, but finds the strongest adherence to Homer in the funeral games of Book 4 and the shield description at the begin- ning of Book 5 (2007, 109–110). © koninklijke brill nv, leiden, 2018 | doi:10.1163/9789004380974_004 the death and inheritance of achilles 97 with Homer, but also by a clear departure from him. In their rivalry to succeed Achilles, the debate between Ajax and Odysseus represents not only an explicit confrontation between characters, but also a clash of heroic convictions, as one hero envisages—successfully—following the precedent of Achilles, whereas the other proposes—convincingly—the adoption of a new heroic course of action.4 3.1 Achilles: Iliadic Power After having slain Memnon, Achilles vanishes into the hubbub like a storm (Q.S. 2.547–548), to re-emerge no earlier than at the beginning of Book 3. A new fight- ing day starts with the funeral of Antilochus (Q.S. 3.1–9). The latter’s commem- oration specifically resounds in Achilles’ wrath, which will be the first indicator and instigator of the new day’s battle: as quoted in section 2.4, Achilles takes up arms again out of “rage for his friend Antilochus” (χολούμενος Ἀντιλόχοιο, Q.S. 3.10). Thus, the beginning of Book 3 is presented as a logical continuation of the Memnon episode. Duckworth describes Achilles’ now-imminent death as a “sudden surprise”, for lack of anticipations of it before Posthomerica 3 (1936, 79–80). It seems to me, however, that the entire plot of Book 2 has provided sufficient reminiscences of the Iliadic history, and the Patroclus and Hector episode in particular,5 to at least implicitly foreshadow what is now about to happen. Achilles’ new rage is destructive: he would have killed all and taken Troy, were it not for Apollo (Q.S. 3.26–31). This ‘if not-situation’ (Nünlist & de Jong 2000, 171) recalls two similar counterfactuals during Achilles’ rage in Iliad 21. In the first, he would have slaughtered many more Trojans were it not for Sca- mander’s rage (Iliad 21.211–212). Later in the same book, Achilles’ chase of the Trojans would have led the Achaeans straight into the city, were it not for Apollo’s intervention (Iliad 21.537–546).6 A situation of similarly destructive proportions—and consequences—is now developed in Posthomerica 3. After two books, Achilles seems to have reached a climax of anger. This is already shown in the evolution of his engagement in battle: in Posthomerica 1, he was roused by Ajax’s exhortation, but in Book 2 he rode out with the rest of the army at dawn. This third battle day starts rather abruptly, with Achilles appearing 4 First observations about this matter have been published in my 2016a article. 5 Additional intertextuality to his Iliadic rage can be found in a brief description of the rivers Xanthus and Simoeis “choked with corpses” (Q.S. 3. 23–24; see also Mansur 1940, 5). 6 In Iliad 16, Patroclus posed a similar threat (discussed below)..
Recommended publications
  • 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.
    [Show full text]
  • The Journal of the New Alchemists 3
    Journal of the New Alchemists 3 Table of Contents NEW ALCHEMY Looking Back - Na ncy jack Todd 7 The Trash Fish Cook Book - Bill McLarney and Bryce Butler 15 ENERGY An Advanced Sail-Wing for Water-Pumping Windmills - Earle Barnhart 25 Savonius Rotor - Earle Barnhart 27 Solar Collector for Heating Water - Earle Barnhart 30 Earth Breath : Wind Power -jim Bukey 32 LAND AND ITS USE An Ark for Prince Edward Island -john Todd 41 The Shape of Things to Come: The Architects' View - Ole Hammarlund and David Bergmark 44 Confessions of a Novice Compostor - Tyro ne Cashman 45 Our Gardens... and Our Rabbits - Hilde Atema Maingay 48 Further Experiments in the Irrigation of Garden Vegetables with Fertile Fish Pond Water - William 0. McLarney 53 The World in Miniature - John Todd 54 AQUACULTURE Midge Culture - William 0. McLarney, joseph S. Levine and Marcus M. Sherman 80 A New Low - Cost Method of Sealing Fish Pond Bottoms- William 0. McLarney and ]. Robert Hu nter 85 Cultivo Experimental de Peces en Estanques - Anibal Pa tino R. 86 EXPLORATIONS Populist Manifesto .... for Poets with Love - Lawrenc,e Ferlinghetti 94 Meditation on the Dark Ages, Past and Present - William Irwin Thompson 96 Self-Health: Exploring Alternatives in Personal Health Services -Nancy Milia, Ruth Hubbard 102 Women and Ecology - Nancy ja ck Todd 107 .. · . : f ; �--... .. · . : · · · . .. · . · · . 0 'H:., i,�··®: · . ·�· i/i... ' to Restnre the lands, Protect t;he Seas, And Inform "Gho Eart"h8 SreCJIU'ds The New Alchemy Institute is a small, international organization fo r research and education on behalf of humanity and the planet.
    [Show full text]
  • Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
    Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic.
    [Show full text]
  • Introduction
    Cambridge University Press 978-0-521-76277-9 - Homer’s Trojan Theater: Space, Vision, and Memory in the IIiad Jenny Strauss Clay Excerpt More information Introduction Ille levi virga (virgam nam forte tenebat), Quod rogat, in spisso litore pingit opus. “Haec” inquit “Troia est” (muros in litore fecit), “Hic tibi sit Simois; haec mea castra puta. Campus erat” (campumque facit), “quem caede Dolonis Sparsimus, Haemonios dum vigil optat equos. Illic Sithonii fuerant tentoria Rhesi; Hac ego sum captis nocte revectus equis –” Pluraque pingebat, subitus cum Pergama fluctus Abstulit et Rhesi cum duce castra suo. He [Odysseus] with a slender branch (for he happened to have one), Draws the plan she [Calypso] requests on the compact sand. “Here,” he said, “is Troy” (he drew walls on the sand), “Let this be Simoeis; consider this my camp. There was the plain” (which he drew), “which we sprinkled with Dolon’s blood, whose wakeful spying prayed to win Achilles’ horses. There were the tents of Thracian Rhesus; But here I am the one who returned with captured horses at night –” He was drawing more, when suddenly a wave washed away the citadel of Pergamus and the camp of Rhesus along with its leader. (Ovid, Ars amatoria 2.131–40)1 In those long years with Calypso, Ovid tells us, the goddess kept asking Ulysses – not all that handsome but a smooth talker – to tell the story of the fall of Troy; and he told it over and over (of course emphasizing his own particular exploits), always the same, always 1 All translations, unless otherwise indicated, are my own.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • The Poetics of Seduction in Roman Lyric and Elegy William Tortorelli CAMWS 2014 [email protected]
    The Poetics of Seduction in Roman Lyric and Elegy William Tortorelli CAMWS 2014 [email protected] 1. a. The Flea by John Donne 1. c. To His Coy Mistress by Andrew Marvell Mark but this flea, and mark in this, How little that which thou deny'st me is; Had we but world enough, and time, It sucked me first, and now sucks thee, This coyness, lady, were no crime. And in this flea, our two bloods mingled be; We would sit down and think which way Thou knowest that this cannot be said To walk, and pass our long love's day; A sin, nor shame, nor loss of maidenhead. Thou by the Indian Ganges' side Yet this enjoys before it woo, Shouldst rubies find; I by the tide And pampered, swells with one blood made of two, Of Humber would complain. I would And this, alas, is more than we would do. Love you ten years before the Flood; Oh stay, three lives in one flea spare, And you should, if you please, refuse Where we almost, yea, more than married are. Till the conversion of the Jews. This flea is you and I, and this My vegetable love should grow Our marriage bed, and marriage temple is; Vaster than empires, and more slow. Though parents grudge, and you, we are met An hundred years should go to praise And cloistered in these living walls of jet. Thine eyes, and on thy forehead gaze; Though use make you apt to kill me, Two hundred to adore each breast, Let not to that self murder added be, But thirty thousand to the rest; And sacrilege, three sins in killing three.
    [Show full text]
  • The Geography of Strabo. with an English Translation by Horace
    THE LOEB CLASSICAL LIBRARY FOUNDED BY JAMES LOEB, LL.D. EDITED BY tT. E. PAGE, C.H., LITT.D. tE. CAPPS, PH.D., LL.D. tW. H. D. ROUSE, litt.d. L. A. POST, L.H.D. E. H. WARMINGTON, m.a., f.r.htst.soc. THE GEOGRAPHY OF STRABO VI THE GEOGRAPHY OF STRABO WITH AN ENGLISH TRANSLATION BY HORACE LEONARD JONES, Ph.D., LL.D. CORNELL DNIVERSITT IN EIGHT VOLUMES VI LONDON WILLIAM HEINEMANN LTD CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS MOMLZ G SI Mil' '' First printrd 1929 V. G> lirprinled 1954, I960 I 4 10952?O rrintrd in Great Britain CONTENTS PAOl BOOK XIII 3 BOOK XIV 197 A PARTIAL DICTIONARY OF PROPER NAMES 887 THE GEOGRAPHY OF STRABO BOOK XIII A 2 2TPABnN02: rEOrPA<MKnN I C581 1. Mexpi' fJ-^v Bevpo (K^coptaOw ra wepl tt)? ^pvyCa^' eTTavi6vT€^ Be irdXiv iirl rrjv WpoTzov- TiBa Kal TT)v €<l)€^ij<i T(p AlcrtjiTM irapaXiav Trjv avrrjv Tr}<; TrepioSelat rd^iv (iTToBcoao/j-ev. eaTi Se Tpwa? Trpdyrr) tt}? Trapa\ia<^ TavTr}<i, »^? to TToXvdpvXrjTov, Kalirep iv €p€nrLot<; kol iv €prip.ia XenrofjLeitjf;, o/xo)? TroXvXoyiav ov rijv Tvxovaav irapex^'' ^fi ypa<f)fj. 7rpb<; tovto Be avyyv(op.rj^ Bel Kal 7rapaKXr]<Te(Of;, 07r&)9 rrjv alriav rov ^ ^i]Kov^ p,r} rjfilv pdXXov dvintTwcnv oi evrvy- iroBovai, raw Xdi'OVTe'i 7j T0t9 a(f)6Bpa Ttjv ei>B6^a)i> Kal TraXaicov yvwaiv irpoaXaix^dvei Bk t^ p,T)Ket, Kal TO 7rX7j0o<i tmp eTroiKTjadvToyp rijv Xoipav '^^XXi]v(ov re Kal fiap^dpcaVy koX oi avyypa<f)eU, ov^l to, avra ypd^ovre^ irepl rwv avToiv, ovBe aa<f)M<; irdvra' mv ev Tot9 rrptoToi^ earlv "O^rjpo^t, eiKd^eiv irepl twv TrXelariov irapexfop.
    [Show full text]
  • DOCTORAL THESIS Animal Metaphors and the Depiction of Female Avengers in Attic Tragedy Abbattista , Alessandra
    DOCTORAL THESIS Animal metaphors and the depiction of female avengers in Attic tragedy Abbattista , Alessandra Award date: 2018 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 ANIMAL METAPHORS AND THE DEPICTION OF FEMALE AVENGERS IN ATTIC TRAGEDY by Alessandra Abbattista BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Humanities University of Roehampton 2017 2 ABSTRACT In the attempt to enrich classical literary criticism with modern theoretical perspectives, this thesis formulates an interdisciplinary methodological approach to the study of animal metaphors in the tragic depiction of female avengers. Philological and linguistic commentaries on the tragic passages where animals metaphorically occur are not sufficient to determine the effect that Attic dramatists would have provoked in the fifth-century Athenian audience. The thesis identifies the dramatic techniques that Aeschylus, Sophocles and Euripides deploy to depict vengeful heroines in animal terms, by combining gender studies of the classical world, classical studies of animals and posthumanism.
    [Show full text]
  • Download PDF 639.93 KB
    Twins on Two Stages: The Dioscuri in the Performances of Sparta and Athens Katharine Gavitt Submitted in Partial Fulfillment of the Prerequisite for Honors in Classical Studies under the advisement of Professor Kate Gilhuly May 2021 © 2021 Katharine Gavitt Contents Acknowledgements………………………………………………………………………………..3 Introduction………………………………………………………………………………………..4 Chapter 1…………………………………………………………………………………………..8 The Dioscuri and Twins in Sparta Chapter 2…………………………………………………………………………………………30 Spartan Twins in Athenian Comedy Chapter 3…………………………………………………………………………………………49 The Dioscuri in Euripides Conclusion……………………………………………………………………………………….70 Bibliography……………………………………………………………………………………..72 2 Acknowledgements Like a theater performance, this thesis came from the incredible community that surrounds me. I’m grateful to my many professors, mentors, and friends who have supported me throughout my time at Wellesley and made me into who I am today. Thank you to my advisor, Kate Gilhuly, the one person who was more excited about what I was writing than I was. I never would have imagined I would have been translating Alcman or even mentioning Sparta when I first came up with the idea for this thesis, but she saw the potential for where this project could go from the first day. Her comments were invaluable and I’m grateful for all the guidance she provided every step of the way. I would also like to thank the other members of my thesis committee: Bryan Burns, for allowing me to derail discussions in GRK 307 with my thoughts about the Dioscuri and Sparta
    [Show full text]
  • 163 Trachsel, A. 2007. La Troade: Un Paysage Et Son Héritage Littéraire
    De novis libris iudicia / P.S. Gerbrandy / Mnemosyne 64 (2011) 163-165 163 Trachsel, A. 2007. La Troade: un paysage et son héritage littéraire. Les commentaires antiques sur la Troade, leur genèse et leur infl uence (Bibliotheca Helvetica Romana, 28). Basel, Schwabe Verlag. xx, 501 p. Pr. €40.50 (hb). If literature is about the lives of human beings, it is not surprising that literary texts abound in descriptions of the environments in which the actions of the pro- tagonists take place. Because few texts have been read, discussed, and imitated as extensively as was the Iliad in the course of more than two and a half millennia, it was only to be expected that many readers have refl ected upon the landscape evoked by the poet. Tourism, movies like Troy (2004), and a never-ending fl ow of archaeological and philological publications testify to the continuity of the fasci- nation exerted by the Troad on scholars and the general public. Alexandra Trach- sel’s book, a revised version of her thesis defended in Neuchâtel in 2005, shows how poets, geographers, and historians in Classical Antiquity laid the foundations for later discussions on the supposed locations of Homer’s tales. In the Introduction Trachsel indicates the problems involved in studying the spatial backdrop of the Iliad ’s story, the most pressing of these being the need to distinguish between the literary landscape as painted by the poet (“l’espace litté- raire”) and the historical territory called Troad in Asia Minor (“Troade historique/ réelle”), which already in archaic times was assumed to be the location of the Tro- jan War (xvi).
    [Show full text]
  • THE ROLE of DIOMEDES in the AENEID and METAMORPHOSES by KEVIN JOSEPH SCAHILL (Under the Direction of CHARLES PLATTER) ABSTRACT T
    THE ROLE OF DIOMEDES IN THE AENEID AND METAMORPHOSES by KEVIN JOSEPH SCAHILL (Under the Direction of CHARLES PLATTER) ABSTRACT This thesis examines the allusive roles of Diomedes as he is used in the Aeneid and Metamorphoses. Chapter 1 is a general introduction to how Diomedes was used in Greek literature. Chapter 2 argues that Virgil’s Aeneid uses Diomedes to create its own epic past that does not always agree with the ‘Homeric’ past that is the Iliad. Chapter 3 argues that Ovid ‘corrects’ Virgil’s Diomedes by rewriting the epic past of the Aeneid to agree more with the Iliad. Chapter 4 is a general conclusion. INDEX WORDS: Diomedes, Virgil, Latin Epic, Ovid THE ROLE OF DIOMEDES IN THE AENEID AND METAMORPHOSES by KEVIN JOSEPH SCAHILL BA, Austin Peay State University, 2006 MA, Austin Peay State University, 2013 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 Kevin Joseph Scahill All Rights Reserved THE ROLE OF DIOMEDES IN THE AENEID AND METAMORPHOSES by KEVIN JOSEPH SCAHILL Major Professor: Charles Platter Committee: Christine Albright Peter E. Knox Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia December 2014 ACKNOWLEDGEMENTS First, I would like to thank the members of my committee: Charles Platter, Christine Albright, and Peter E. Knox. This thesis would be unreadable without help from them, and especially Dr. Platter, who was forced to bear the brunt of this onslaught of incomprehensibility. Second, I would like to thank everyone who helped me prepare my applications to PhD programs and wrote letters of recommendation for me: Charles Platter, Christine Albright, Sarah Spence, Erika Hermanowicz, Naomi Norman, and T.
    [Show full text]