DOCSLIB.ORG

Syrinx Pastels of Hellas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Syrinx Pastels of Hellas I N D ! X Foreword The Shep herd In the Forest ! irgin Lov e Delphi The Friend Lesbos The Ragged Cloak To the Ap hrodite Ashes o f Desire Phaon False Dawn The Isle The ! otaress At the Games The Ep icu re The Orgy Noctu rne The Seeker On the Agora Shadow Gold Pan Circe The Falling zLeav es Lethe F O R E ! O R D S x One drowsy day of summer, yrin wandered in the cool depths of the forest . And there un i Pan fo d her, singing and garlanded w th flowers . ! m Brown limbed and supple ny ph, all the pine! crown ed satyrs and the dryads babble ow thy name . N even Pan himself desires thou art very fair I love thee . But pale Syrinx only smiled in disdain for words too often heard . ’ The god s quick eyes darkened . He smiled . His ready hand leapt out The frail virgin darted away like a shadow among the trees and over the fields 9 li O i Her soft ps pen to her striv ng breath , l her eyes appea ing , the nymph slips over the flowered bank of a clear stream hi waters ripple about her t ghs . ui ! O naiads, help me q ckly Pan reaches out His arms enfold a thicket of sighing reeds . c ulls Later, he the swaying reeds to cut them in uneven lengths and bind them side by side . i his Then , plac ng them to lips, he sighs li The clear notes g de out across the fields . Sometimes they are very sad and men who hear them weep ! sometimes they are loud and clear and men who hear them laugh and sing ! sometimes they shrill and men draw their hi cloaks about them, dreaming of singular t ngs . T H E S H E P H E R D When it is night , before the moon has risen and the skies are spattered thick with stars ! i all when , in the d stance, things blend into one e and the sleeping earth touches the arch d sky, I b t stand before my tiny u and pray . i i Below me on the h llside, their coats glow ng softly in the starlight , lie my sheep . And from the trees, the brooks , the grasses , the incessant chorus of midsummer nights trills through the an . Yet I know not to what or to whom I pray . No t to the sun or moon for they are nowhere to be seen ! not to the gods for there is no temple I I S Y R I N X nor even a statue here ! not to the stars for there are too many and some, neglected, would be ! ealous . Perhaps it is to the sighing wind I pray ! perhaps to the shadows and the rollin g hills ! perhaps to the night itself which seems so peaceful , all embracing , mysteriously divine . I N T H E F O R E S T D n ow the shadowed forest glade, the nymph flashes like a silver arrow from a bow . Her golden hair streams out like a flying veil ! her w eyes are bright ith terror ! her crimson, sobbing lips are salt with tears . hi n Be nd her, a dark shadow darti g nimbly his over the silent earth , a satyr speeds , cheeks i hi all flushed w th red, his clutc ng hands stretched out . ! Ho , ho , ho chuckles an old man , leaning ff. ! ! upon a sta Ho , ho , ho Why dost thou run Thou wilt be caught ! Thou wilt be caught ! i High overhead in the sunl ght , a bird sings gloriously to the open sky . On the forest path , 1 3 S Y R I N X a squirrel rushes madly ov er the grass and scampers up a mossy trunk . — — A gasp quick steps upon the earth a cry . ! in Ho, ho , ho chuckles an old man , lean g ff . ! upon a sta Ho , ho , ho Why didst thou run! Why didst thou run ! ! I R ! I N L O ! E I sit before my window drawing the gleaming ff— Ye t threads from the dista and I wait . him even when I see I am silent , clasping my longing hands over my knees to still their trembling . Tossing the boyish curls away from his brow, ! bright eyed and lovely, how can I hope that he ! should think of me How dare I hope that he , 0 0 ! so beautiful , should st p to love His voice thrills in my heart ! his accidental touch flashes like fire through my veins . And i then my ve ling lashes droop , I bite my lips I S S Y R I N X i and lay sweet, cooling flowers aga nst my cheeks . When he looks at me and smiles, I fear t i Ye some day, perhaps , he w ll hold me in his — arms and then then I will only love him and be very happy. D E L P H I On the wide green slopes of Parnassus there is a marble temple, a very holy temple in the eyes of men , where a god speaks in a mysterious way . i Purified by the ritual ablut ons, clad in spotless white and crowned with laurel , a young priestess, very pale and very beautiful , approaches the dread chasm which opens upon the un derworld . hi Her flesh quivers at the approac ng ecstasy, afflatio n her breast rises and falls in the divine , her eyes darken with prophecy . How frail she is to be the mouthpiece of a god ! I 7 S Y R I N X x But at length her rela , her head falls forward and, very slowly, she begins to speak . — But I I lov e the simple gods of the woods and fields ! they are nearer, they speak more i gently, and their vo ce is the song of birds and i the murmurings of the n ght . S Y R I N X Thou hast but gone on a long !ourney, hast ! in thou not And life ebbs quickly, hand hand with death But thou wilt return . Before I know the dream is true, surely thou wilt return L E S B O S hi ! ! pon the bosom of t s sun kissed sea , beneath fair skies, caressed by gentle southern si hin s winds perfumed like enamored g g , lies the Isle of Dreams . f i Its marble cli fs, bright w th anemone, fra grant with myrtle, rest like glorious temples on the blue waters . On the flowered grass among the olive groves or shadowed by the pines where lapping waves caress the sandy i shore , virgins and youths, inspired w th beauty, in . walk singing , hand hand In the bright cities, laughter fills the air, in l i m mingl g with pu s ng usic and fresh voices . 2 1 S Y R I N X i fila From the altars of the sanctuaries, th n i ff ments of ncense waver out, di using through the sunlight . There Sappho to sing of lov e . There Laric h u s ! i l young , white l mbed and beautifu , pours from the glitterin g wine cups crimson l ibations to the gods . And over all , the breath of desire floats like a perfumed cloud . T H E R A G G E D C L O A K R 0 i i elease my arm, nsolent, and g ve me back that rose thou hast dared to steal ! I love thee . — Thou lov estP beggar ! Then look not at me whose love is worth a mina at the least . hl ki ! Away, tattered c amys , seek thy nd I love thee . ! Ho , friends Who wants a for a — lover! Here is one ready almost anxious . Look at his faded cloak ! Behold this rent 23 S Y R I N X through I thrust my hand ! Ah ! Off with ! rags, deceiver How wicked of thee to me so ! What ! What sayest thou! I scorn thee . T O T H E A P H R O D I T E Thou art the source of all the loves ! truly t thou art very fair . Ye who could say I am not fairer still! Thy rounded limbs are cold like snow while mi di i i ne are yiel ng and warm, glow ng w th ’ quivering life at a lover s touch . Thy lips hi u hi w ch seem so beautif l are w te and hard , i while m ne are like red poppies , tremulous and o x sweet . N perfumed breath e hales from thee , nor canst thou gasp thine ecstasy into a silenced ear . Yet I adore thee , for thou art immortal and divine . In the twilight of the sanctuary, thy pure and flawless limbs will glow through the 2 5 S Y R I N X eddying incense after my own, so beautiful now, have crumbled into dust . Men will look up to thee long after remembrance of me has w passed away, and still thou ilt inflame their quickening desire when my frail shade is lost among the dead . S Y R I N X hurt because I call them dearly bought . — l art a man thou cou dst not understand . couldst thou know I love thee more for than for all other things P H A O N i Must I woo thee, flower of Lesb an youth, ! i fair skinned and supple, nsensible to love, disdainful as a god! Must Sappho sing to thee and play the man , bringing her sweetest lyrics to thy scornful lov eliness! Among these perfumed gardens where the glowing rose and hyacinth breathe out their k fragrant souls, among the tin ling fountains li i and the o ve groves, canst thou not find, with n i thine heart, one spark of glow ng love which I c an sigh into a flame! ! ic hi Alas Thy brow is y cold, t ne hand all i unresponsive to my touch .
Load more

Recommended publications
  • Naomi Weiss 1 in 1927, Nine Years After Claude Debussy's Death, The
    Naomi Weiss HEARING THE SYRINX IN EURIPIDEAN TRAGEDY In 1927, nine years after Claude Debussy’s death, the editor of his previously unpublished solo flute piece, La Flûte de Pan, changed its title to Syrinx. The music was originally composed as incidental music for Gabriel Mourey’s dramatic poem Psyché, and seems to belong in Act Three, following the stage direction “Sometimes they [the nymphs] stop [dancing] completely, amazed, listening to the syrinx of invisible Pan, moved by the song that escapes from the hollow reeds” (“Par moments elles s’arrêtent toutes, émerveillées, écoutant la syrinx de Pan invisible, émues par le chant qui s’échappe des roseaux creux”).1 The music they hear is actually that of the flute representing the sound of the god’s panpipes, his syrinx, which is also sometimes referred to as a flute in Mourey’s text. The change of the piece’s title is commonly thought to refer to a myth that had little to do with Mourey’s play—the story of the nymph Syrinx, who, running from Pan’s amorous advances, is transformed into reeds, from which he fashions his instrument.2 But the title also encourages us still to hear the flute as the god’s syrinx, so that, even without the dramatic context, the music can create a mimetic effect, a conflation of two different but conceptually related instruments.3 A similar sort of instrumental mimesis must have regularly occurred in the classical Athenian theater, where, though the aulos (not a flute, but a double reed pipe) usually provided 1 Mourey, Psyché III.1.
    [Show full text]
  • The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
    The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
    [Show full text]
  • Deconstructie in Syrinx Van Claude Debussy
    In(-)formations The Meaning of Paratextual Elements in Debussy’s Syrinx Marcel Cobussen (Leiden University, The Netherlands) 1 … It all starts with the A and B (not) resolving on the A flat in the very first bar … First in(-)formation. What is the status of this remark? What is ‘the truth’ of this statement, if there is any? Let’s start (But didn’t we already start? Hasn’t it started yet? Wouldn’t it be better to write “let’s continue,” not only here, in this particular case, but always? I must return to this line of thought in more detail in a moment) with some objections, some comments to put this blunt opening sentence into perspective, that is, provide it with a frame, because the borders of any context open out wide. One of the most obvious limitations that can be applied is, of course, the score, that piece of paper offering an indispensable reference, according to which, in this case, it would be immediately clear how wrong my first sentence is. For, preceding the aforementioned interval, a B flat will be discerned, this note being the ‘actual beginning’ of the piece. It is not with the interval A-B but with the B flat that the composition opens, even fastening itself down on this tone as the tonal center for at least one beat (if not for the majority of the bars). However, if you allow me to dwell upon this for a moment, the question is legitimate: whether this tone effectively marks the commencement, or, more broadly speaking, if any first tone indicates the border between inside and outside, between that belonging to the composition, the aural artwork, and that which is excluded from it.
    [Show full text]
  • From Mythos to Logos. Progress of Erotic Customs in Longus’
    FROM MYTHOS TO LOGOS. PROGRESS OF EROTIC CUSTOMS IN LONGUS’ POIMENIKÀ Abstract: My paper intends to demonstrate that ancient novels, though often employing mythical patterns, sought to mark a progression away from the ambiguous ethics that informed issues of eroticism in most of the mythical tradition by moving toward a more egalitarian conception of the relationship between the sexes. This progression is particularly evident in Longus’ Poimenikà. In the first three books of this novel we find three mythical excursus which describe virgins undergoing a process of metamorphosis in order to escape a god’s rape or other kinds of abuse. The god Pan is regarded as the emblem of eros, purely physical desire, which is something sterile and degrading. On the contrary, the last book offers a positive model of the relationship between men and women: Daphnis and Chloe’s love reaches marital union, the proper place to experience sex as a divertissement with the crucial goal being that of procreation. The dichotomy between mythos and logos is implied earlier in the novel. If the excursus are classified as myths and they conclude with the virgins losing their human status, Longus underlines that his story is a truthful logos, and he gives it a happy ending: Chloe gains a role in society. Against the trend of looking at mythos as a container of ideal behavioural schemes and at a mythical Golden Age, Longus celebrates the development of erotic customs in his time through the means of a recent mimetic literary genre consisting of human characters. Although the Poimenikà take place in an idealised past, they give account of a contemporary social reality that is more respectful of female volition and they evoke a yearning to substitute the primeval mythical erotic code with the hope of becoming the new paradigm for erotic literature.
    [Show full text]
  • Excerpts from Ovid, Metamorphoses
    Ovid, Metamorphoses 1 EXCERPTS FROM OVID, METAMORPHOSES TRANSLATED BY IAN JOHNSON AVAILABLE ON LINE (FULL VERSION OF BOOKS 1-3) AT HTTP://RECORDS.VIU.CA/~JOHNSTOI/OVID/OVID1.HTM (1) APOLLO AND DAPHNE The story begins just after the young god Apollo has established himself as an adult, powerful god by killing the dragon/serpent Python and claiming its former grounds as the site for his most significant sanctuary, Delphi. Apollo’s first love was Daphne, the daughter of Peneus.* It was not blind chance which made him love her, but Cupid’s savage rage. The Delian god, proud of his recent conquest of the snake, saw Cupid flexing his bow, pulling back the string, and said to him:* “Impudent boy, why are you playing with a man’s weapon? Carrying that suits shoulders like my own, since I can shoot wild beasts and never miss and wound my enemy. I am the one who with my countless arrows has just killed that swollen Pytho, whose venomous gut covered so many acres. Stay content kindling any kind of love you fancy with that torch of yours, but do not pre-empt those praises due to me.” The son of Venus then replied to him:* “O Phoebus, your bow may strike all things, but mine can strike at you. Just as all animals are less than gods, so, to the very same extent, your fame is less than mine.” Cupid spoke. Keen to act, he struck the air with beating wings and stood on the shady peak of Mount Parnassus. He pulled out two arrows from his quiver, Ovid, Metamorphoses 2 each with a different force.
    [Show full text]
  • A Methodological Guide for Educational Approaches to the European Folk Myths and Legends
    Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ, Florica CONSTANTIN, Mădălina CRAIOVEANU, Simona-Diana CRĂCIUN, Giovanni DAMBRUOSO, Angela DECAROLIS, Sylwia DOBRZAŃSKA, Anamaria DUMITRIU, Bernadetta DUŚ, Urszula DWORZAŃSKA, Alessandra FANIUOLO, Marcin FLORCZAK, Efstathia FRAGKOGIANNI, Ramune GEDMINIENE, Georgia GOGOU, Nazaré GRAÇA, Davide GROSSI, Agata GRUBA, Maria KAISARI, Maria KATRI, Aiste KAVANAUSKAITE LUKSE, Barbara KOCHAN, Jacek LASKA, Vania LIUZZI, Sylvia MASTELLA, Silvia MANEA, Lucia MARTINI, Paola MASCIULLI, Paula MELO, Ewa MICHAŁEK, Vittorio MIRABILE, Sandra MOTUZAITE-JURIENE, Daniela MUNTEANU, Albert MURJAS, Maria João NAIA, Asimina NEGULESCU, Helena OLIVEIRA, Marcin PAJA, Magdalena PĄCZEK, Adina PAVLOVSCHI, Małgorzata PĘKALA, Marioara POPA, Gitana PETRONAITIENE, Rosa PINHO, Monika POŹNIAK, Erminia RUGGIERO, Ewa SKWORZEC, Artur de STERNBERG STOJAŁOWSKI, Annalisa SUSCA, Monika SUROWIEC-KOZŁOWSKA, Magdalena SZELIGA, Marta ŚWIĘTOŃ, Elpiniki TASTANI, Mariusz TOMAKA, Lucian TURCU A METHODOLOGICAL GUIDE FOR EDUCATIONAL APPROACHES TO THE EUROPEAN FOLK MYTHS AND LEGENDS ISBN 978-973-0-34972-6 BRĂILA 2021 Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ,
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]
  • APHRODITE Was the Great Olympian Goddess of Beauty, Love, Pleasure and and Procreation. She Was Depicted As a Beautiful Woman Us
    APHRODITE was the great Olympian goddess of beauty, love, pleasure and and procreation. She was depicted as a beautiful woman usually accompanied by the winged godling Eros (Love). Her attributes included a dove, apple, scallop shell and mirror. In classical sculpture and fresco she was often depicted nude. Some of the more famous myths featuring the goddess include:-- Her birth from the sea foam; Her adulterous affair with the god Ares; Her love for Adonis, a handsome Cypriot youth who was tragically killed by a boar; Her love for Ankhises, a shepherd-prince; The judgement of Paris in which the goddess was awarded the prize of the golden apple in return for promising Paris Helene in marriage; The Trojan War in which she supported her favourites Paris and Aeneas and was wounded in the fighting; The race of Hippomenes for Atalanta, which was won with the help of the goddess and her golden apples; The death of Hippolytos, who was destroyed by the goddess for scorning her worship; The statue of Pygmalion which was brought to life by Aphrodite in answer to his prayers; The persecution of Psykhe, the maiden loved by the goddess' son Eros. APOLLON (or Apollo) was the great Olympian god of prophecy and oracles, healing, plague and disease, music, song and poetry, archery, and the protection of the young. He was depicted as a handsome, beardless youth with long hair and various attributes including:--a wreath and branch of laurel; bow and quiver; raven; and lyre. The most famous myths of Apollon include:-- His birth on the island of Delos; The
    [Show full text]
  • Metamorphoses: Some Mythological Images in Roman Art
    ARTÍCULOS Gerión. Revista de historia Antigua ISSN: 0213-0181 http://dx.doi.org/10.5209/GERI.56961 Metamorphoses: Some Mythological Images in Roman Art Sonia Mucznik1 Recibido: 22 de noviembre de 2015 / Aceptado: 28 de junio de 2017 Abstract. The analysis of several Graeco-Roman myths, and the comparison of the images in ancient literary sources with those in visual art can help to discern the passions underlying them, mainly love and vengeance. The myths and images chosen in this article are restricted to the Maenads, Pentheus and Ambrosia, whose metamorphoses were the result of Dionysos’ vengeance, whereas those of Adonis, Attis and Pithys were incited by other gods or goddesses. Furthermore, some visual images differ from the known literary sources, and thus it can be suggested that in their creative art, artists or artisans interpreted freely, using their imagination. Keywords: Mythology; Images; Maenads; Pentheus; Ambrosia; Adonis; Attis; Pithys. [es] Metamorfosis: algunos mitos y sus imágenes en el arte romano Resumen. El análisis de varios mitos greco-romanos y la comparación entre las imágenes aportadas por las fuentes literarias y las proporcionadas por el arte permiten distinguir las pasiones subyacentes en los mitos escogidos, en especial el amor y la venganza. Los mitos e imágenes tratados en este artículo se limitan a las Ménades, Penteo y Ambrosia, cuyas metamorfosis resultaron de la venganza del dios Dionisio, mientras que las metamorfosis de Adonis, Attis y Pitis fueron instigadas por otros dioses o diosas. Además, las diferencias observadas entre las imágenes transmitidas por el arte y las aportadas por las fuentes literarias parecen derivar de la creatividad e imaginación libre de los artistas o artesanos.
    [Show full text]
  • The Greek Myths 1955, Revised 1960
    Robert Graves – The Greek Myths 1955, revised 1960 Robert Graves was born in 1895 at Wimbledon, son of Alfred Perceval Graves, the Irish writer, and Amalia von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling is poetry, and his Selected Poems have been published in the Penguin Poets. Apart from a year as Professor of English Literature at Cairo University in 1926 he has since earned his living by writing, mostly historical novels which include: I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton (all published as Penguins); Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That (a Penguin Modem Classic), in 1929. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarene Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He has translated Apuleius, Lucan, and Svetonius for the Penguin Classics. He was elected Professor of Poetry at Oxford in 1962. Contents Foreword Introduction I. The Pelasgian Creation Myth 2. The Homeric And Orphic Creation Myths 3. The Olympian Creation Myth 4. Two Philosophical Creation Myths 5. The Five Ages Of Man 6. The Castration Of Uranus 7. The Dethronement Of Cronus 8. The Birth Of Athene 9. Zeus And Metis 10. The Fates 11. The Birth Of Aphrodite 12. Hera And Her Children 13. Zeus And Hera 14.
    [Show full text]
  • Cultural Roots of Technology: an Interdisciplinary Study of Automated Systems from the Antiquity to the Renaissance
    UNIVERSITÀ DEGLI STUDI DI MILANO FACOLTÀ DI SCIENZE MATEMATICHE, FISICHE E NATURALI DIPARTIMENTO DI INFORMATICA E COMUNICAZIONE SCUOLA DI DOTTORATO DI RICERCA IN INFORMATICA CICLO XXIII TESI DI DOTTORATO DI RICERCA CULTURAL ROOTS OF TECHNOLOGY: AN INTERDISCIPLINARY STUDY OF AUTOMATED SYSTEMS FROM THE ANTIQUITY TO THE RENAISSANCE INF/01 NADIA AMBROSETTI TUTOR: Ch. mo Prof. GIANFRANCO PRINI DIRETTORE DELLA SCUOLA: Ch. mo Prof. ERNESTO DAMIANI ANNO ACCADEMICO 2009/2010 muta cantare, insensata vivere, immobilia moveri Cassiodorus, Variae, I, 45, 10 Contents 1 Introduction .................................................................................................................................. 5 1.1 Literature Review .................................................................................................................. 5 1.1.1 Monographic Studies ..................................................................................................... 5 1.1.2 General Studies ............................................................................................................ 10 1.2 Research Question Definition ............................................................................................. 13 1.2.1 What is an Automaton? ................................................................................................ 14 1.2.2 Automata Features and Need for Classification .......................................................... 17 1.2.3 Historical Period Definition ........................................................................................
    [Show full text]
  • Mythological Figure of the God Pan in Metamorphoses After Ovid by Benjamin Britten
    Învăţământ, Cercetare, Creaţie Vol. 3 No. 1 - 2017 Mythological figure of the god Pan in Metamorphoses after Ovid by Benjamin Britten Octavian VELESCU1 Abstract: Through the rich treasure of the characters and events of the Metamorphosis, Ovidius Publius Naso opened the way for various interpretations in many artistic fields such as painting, sculpture, music or literature. Six metamorphoses after Ovid by Benjamin Britten is part of the successful attempt of portraying mythological characters. The cycle of works is dedicated to solo oboe and has become one of the most famous works of the 20th century for this instrument. The first of these pieces, Pan, is distinguished by the melodic outline, soundtrack and special architectural structure that drive imagination to a diverse array of interpretations of mythological stories. Key-words: Metamorphosis, Ovid, Benjamin Britten, oboe 1. Introduction The Inspiration for the Six metamorphoses after Ovid Op. 49 written by composer Benjamin Britten in 1951 started, as evidenced by the title of a work comprising fifteen books of the Roman poet Ovid Vesuri Publius Naso (43 BC to 17 e.n).The work is based on legends from Greek mythology, where mythological characters sometimes suffer some transformations. But before we start analyzing the proposed pieces, we might wonder why the composer has chosen this inspiration source. Each creator builds a plan in the creative process, sometimes starting from some images or concepts. What draws attention in the first moment, to this source of inspiration based on these achievements of the ancient poet, is, of course, the title: Metamorphosis. The name, first translated by the Latin by the word transformation, describes the process of changing the form in which meta means change, and morphe - form.
    [Show full text]