And Type the TITLE of YOUR WORK in All Caps

Total Page:16

File Type:pdf, Size:1020Kb

And Type the TITLE of YOUR WORK in All Caps THE POETICS OF KINSHIP: NARRATIVE AND POETIC TECHNIQUE IN VERGIL, OVID, AND STATIUS by CLAYTON ANDREW SCHROER (Under the Direction of Sarah Spence) ABSTRACT This thesis traces the development of the theme of kinship and posits that it is connected to the virtue of pietas in the Latin epics of Vergil, Ovid, and Statius. In the Aeneid, the theme of kinship operates on two complementary levels: the literary and narrative. Even as the nature of pietas becomes more problematic in the narrative, so also Vergil’s devotion to his literary forefathers diminishes as the epic develops. In the Metamorphoses, Ovid responds to Vergil’s use of kinship by focusing on the taboos of incest and familial violence. Ovid shows that these two transgressions of pietas represent narrative progress and composition while also symbolizing different modes of poetic allusion. Statius’ epic rewrites these two earlier epics, simultaneously undermining the ethical system of the Aeneid and calling into question Ovid’s claim of literary immortality at the end of the Metamorphoses. INDEX WORDS: Vergil, Aeneid, Ovid, Metamorphoses, Statius, Thebaid, allusion, intertextuality, kinship, pietas, epic. THE POETICS OF KINSHIP: NARRATIVE AND POETIC TECHNIQUE IN VERGIL, OVID, AND STATIUS by CLAYTON ANDREW SCHROER BA, Xavier University, 2011 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 2013 © 2013 Clayton Andrew Schroer All Rights Reserved THE POETICS OF KINSHIP: NARRATIVE AND POETIC TECHNIQUE IN VERGIL, OVID, AND STATIUS by CLAYTON ANDREW SCHROER Major Professor: Sarah Spence Committee: T. Keith Dix Michael C.J. Putnam Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2013 iv DEDICATION MEIS PARENTIBUS v ACKNOWLEDGEMENTS Many people have helped me in completing this project. To Nicholas Rynearson, Charles Platter, Naomi Norman, James Anderson, Erika Hermanowicz, Jordan Amy, Kevin Scahill, Braden Mechley, and Sam Baroody I give my deepest thanks. Among these, Kevin Scahill and Jordan Amy deserve special mention. Few can say that one of their ideal readers sits beside them in the same office, and Kevin has been more than giving of his time. He has threatened to read this thesis in toto; I can only hope that I have made that task as least arduous as possible. Jordan read many portions of the thesis and saved me from more errors than I would like to remember. In my committee I have found the perfect balance of friendship and guidance. Keith Dix has, for one chapter of this thesis, suspended his suspicion of Silver Age poetry, and I must thank him for that since his criticism throughout this project has improved at many points what would have otherwise been unsound readings at best. Michael Putnam, a mentor in absentia to me for so long, has been the best reader an aspiring scholar of poetry could hope for; no thanks in such an abbreviated space can do justice to the thoughtful help he has given to this project and to me (who was not even a name to him less than a year ago). I can only hope one day to become half the scholar and person that Sarah Spence is. For the countless hours I spent in her office developing nascent ideas, I thank her for her time and apologize for being so greedy with it. For the ever timely encouragement and support that defines her guidance of me and so many others, a million thanks would not begin to be enough. The virtues which remain are in spite of me and arise mostly from the help of those mentioned here; any faults that remain are mine alone. vi The thanks owed to my parents are too numerous to be mentioned here, and I have recorded my debt to them on a separate page. I have saved the best for last, and all that remains is to express the inexpressible thanks due to Jennifer Stanull. She has believed in me when I could not come to believe in myself, has acquiesced to many nights of Borderlands and SitComs, and has generally proven herself to be the kindest, most thoughtful, and most diligent person I know. vii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .............................................................................................................v INTRODUCTION ...........................................................................................................................1 CHAPTER 1 THE PRODIGAL SON: VERGIL ON BREAKING EXPECTATIONS .....................3 2 KINSHIP AND POIESIS IN THE METAMORPHOSES: HOW TO RELATE (TO) THE PAST ...................................................................................................................33 3 THE END OF THE LINE: THE THEBAID AND THE REINTERPRETATION OF THE AENEID AND METAMORPHOSES ..................................................................60 REFERENCES ..............................................................................................................................92 1 Introduction I argue in this thesis that kinship and family are symbolic of the development of poetry: Homer is Vergil’s literary father, Vergil is Ovid’s, and so on. This is, I think, a very Roman way of understanding the relationship between texts. For example, Quintilian likens literary genres to the Roman familia. When he describes the Roman textual critics who came before him, Quintilian describes their stern editorial practices (Inst.Orat. 1.4.3): quidem ita severe sunt usi veteres grammatici ut non versus modo censoria quadam virgula notare et libros qui falso viderentur inscripti tamquam subditos summovere familia permiserint sibi, sed auctores alios in ordinem redegerint, alios omnino exemerint numero. Indeed the old grammatici made use of such severity that not only did they allow themselves to mark with a certain condemning mark verses and books which seemed to have been written spuriously, just as if they removed those in their care from the family, but also they brought some authors back into the canon, and others they quickly excised all together. I am unaware of an example in which the understanding of a genre as a family is so explicitly codified in Greek literature.1 Certain Greek authors use similar metaphors. In Plato’s Symposium, for example, Diotima claims that men reproduce and protect their offspring out of a desire for some type of immortality (207b-207d); Diotima concludes, however, that in lieu of children many men opt to produce poetry in order to earn undying glory for all time (208c: καὶ κλέος ἐς τὸν ἀεὶ χρόνον ἀθάνατον καταθέσθαι). To Diotima, poetry is a type of poetic offspring, but nowhere is this relationship as explicitly codified as it is in Quintilian. 1 My understanding of the significance of this passage in the Symposium has benefitted from the insights of Charles Platter. I should note that I do not wish to claim that kinship is not an important theme in the Greek corpus. Wohl (2005) 153, although primarily focused on tragedy, serves as a good starting point for those interested in kinship in Greek literature. 2 And the metaphor of the poetic family is not limited to Quintilian. In a variation of the theme, Statius in the Silvae portrays Lucan as the son of Calliope (Silv. 2.7.36-38): natum protinus atque humum per ipsam primo murmure dulce vagientem blando Calliope sinu recepit. And Calliope took him in her pleasant lap as soon as he was born while still on the ground2 and wailing sweetly with his first murmur. As Carole Newlands asserts, Calliope accepts the poetically gifted (dulce vagientem) as her son (cf. Silv. 2.7.41: puer).3 Calliope, the muse of epic poetry, by accepting the baby Lucan into her family also accepts Lucan as a representative of her own genre, epic poetry. In this case, as in Quintilian, a genre of poetry is likened to a family unit and poetic authority is translated into the image of family descent. In connection with this theme, Mariana Ventura has also argued that in Silvae 5.3, a poem posthumously published and dedicated to Statius’ recently deceased father, the poet likens his genetic father to his literary father, Vergil.4 Therefore the metaphor of literary genre as family is a particularly Roman method of thinking of literary history. Given the key role that familial devotion, or pietas, plays in the Aeneid and post-Vergilian epic, I posit that there is a relationship in Latin epic beginning with Vergil between the two modes of kinship, the narrative/thematic and the literary. By observing the dynamics of this relationship it is possible to observe not only how poets relate to one another within a tradition, but also how they do so by redefining and subverting the themes and values established by their predecessors. 2 See Newlands (2011) ad Silv. 2.7.36-38. 3 Newlands (2011) ad Silv. 2.7.36-40. 4 See Ventura (2010) passim. 3 CHAPTER 1 THE PRODIGAL SON: VERGIL ON BREAKING EXPECTATIONS Before Vergil introduces his hero by name, he characterizes him by his pietas (Aen. 1.10: insignem pietate virum). Aeneas’ identity is not defined by his name or by who he is as an individual; rather, Vergil shows his hero as a man subordinated to the demands placed upon him by outside forces. As the plot of the Aeneid progresses, Aeneas’ devotion to the demands of pietas weakens; Oliver Lyne summarizes the inconsistencies of pietas well: Aeneas has to learn to become someone dutiful and subordinate, the heros pius, a paradoxical and unblessed role. And he does so of course at great cost and far from consistently. How could it be otherwise? Such is the character and situation of Aeneas, potentially defined even in his first scene, with the assistance of allusion, the process of comparing and contrasting: a hero in a role shot through with paradox and pain.5 Lyne’s point, in part, is that Aeneas’ pietas, his defining quality, is one based on a paradoxical contrast. Aeneas’ definition as a hero is qualified: he seeks glory, but not the individualistic glory sought by his Homeric predecessors.
Recommended publications
  • 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]
  • Durham E-Theses
    Durham E-Theses The legend of Oedipus in fth century tragedy at Athens Bailey, S. K. How to cite: Bailey, S. K. (1955) The legend of Oedipus in fth century tragedy at Athens, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9722/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk r 1 THE LEGEND OF OEDIPUS IN FIFTH CENTURY TRAGEDY AT ATHENS A THESIS SUJ3W:TTED BY S.K. BAILEY FOR THE DEGREE OF MASTER OF LETTERS The aims of the thesis are (a) to mark what has been altered or added to the legend of Oedipus by the three great dramatists of the fifth century, and (b) to show that these alterations and additions were made with a· specific end in view. To further these aims it has been necessary to broaden somewhat the scope of the thesis so as to include in it a gathering together of the pre-Aeechylean versions of the story; in the case of Aeschylus a reconstruction of the two lost plays of the trilogy, and in the case of each poet a personal interpretation of the plays connected with the Oedipus legend.
    [Show full text]
  • The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
    АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut.
    [Show full text]
  • 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.
    [Show full text]
  • The Geotectonic Evolution of Olympus Mt and Its
    Bulletin of the Geological Society of Greece, vol. XLVII 2013 Δελτίο της Ελληνικής Γεωλογικής Εταιρίας, τομ. XLVII , 2013 th ου Proceedings of the 13 International Congress, Chania, Sept. Πρακτικά 13 Διεθνούς Συνεδρίου, Χανιά, Σεπτ. 2013 2013 THE GEOTECTONIC EVOLUTION OF OLYMPUS MT. AND ITS MYTHOLOGICAL ANALOGUE Mariolakos I.D.1 and Manoutsoglou E.2 1 National and Kapodistrian University of Athens, Faculty of Geology and Geoenvironment, Department of Dynamic, Tectonic & Applied Geology, Panepistimioupoli, Zografou, GR 157 84, Athens, Greece, [email protected] 2 Technical University of Crete, Department of Mineral Resources Engineering, Research Unit of Geology, Chania, 73100, Greece, [email protected] Abstract Mt Olympus is the highest mountain of Greece (2918 m.) and one of the most impor- tant and well known locations of the modern world. This is related to its great cul- tural significance, since the ancient Greeks considered this mountain as the habitat of their Gods, ever since Zeus became the dominant figure of the ancient Greek re- ligion and consequently the protagonist of the cultural regime. Before the genera- tion of Zeus, Olympus was inhabited by the generation of Cronus. In this paper we shall refer to a lesser known mythological reference which, in our opinion, presents similarities to the geotectonic evolution of the wider area of Olympus. According to Apollodorus and other great authors, the God Poseidon and Iphimedia had twin sons, the Aloades, namely Otus and Ephialtes, who showed a tendency to gigantism. When they reached the age of nine, they were about 16 m. tall and 4.5 m. wide.
    [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]
  • Greek Tragedy and the Epic Cycle: Narrative Tradition, Texts, Fragments
    GREEK TRAGEDY AND THE EPIC CYCLE: NARRATIVE TRADITION, TEXTS, FRAGMENTS By Daniel Dooley A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October 2017 © Daniel Dooley All Rights Reserved Abstract This dissertation analyzes the pervasive influence of the Epic Cycle, a set of Greek poems that sought collectively to narrate all the major events of the Trojan War, upon Greek tragedy, primarily those tragedies that were produced in the fifth century B.C. This influence is most clearly discernible in the high proportion of tragedies by Aeschylus, Sophocles, and Euripides that tell stories relating to the Trojan War and do so in ways that reveal the tragedians’ engagement with non-Homeric epic. An introduction lays out the sources, argues that the earlier literary tradition in the form of specific texts played a major role in shaping the compositions of the tragedians, and distinguishes the nature of the relationship between tragedy and the Epic Cycle from the ways in which tragedy made use of the Homeric epics. There follow three chapters each dedicated to a different poem of the Trojan Cycle: the Cypria, which communicated to Euripides and others the cosmic origins of the war and offered the greatest variety of episodes; the Little Iliad, which highlighted Odysseus’ career as a military strategist and found special favor with Sophocles; and the Telegony, which completed the Cycle by describing the peculiar circumstances of Odysseus’ death, attributed to an even more bizarre cause in preserved verses by Aeschylus. These case studies are taken to be representative of Greek tragedy’s reception of the Epic Cycle as a whole; while the other Trojan epics (the Aethiopis, Iliupersis, and Nostoi) are not treated comprehensively, they enter into the discussion at various points.
    [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]
  • Greek Mythology Link (Complete Collection)
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • Español • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. This PDF contains portions of the Greek Mythology Link COMPLETE COLLECTION, version 0906. In this sample most links will not work. THE COMPLETE GREEK MYTHOLOGY LINK COLLECTION (digital edition) includes: 1. Two fully linked, bookmarked, and easy to print PDF files (1809 A4 pages), including: a. The full version of the Genealogical Guide (not on line) and every page-numbered docu- ment detailed in the Contents. b. 119 Charts (genealogical and contextual) and 5 Maps. 2. Thousands of images organized in albums are included in this package. The contents of this sample is copyright © 1997 Carlos Parada and Maicar Förlag. To buy this collection, visit Editions. Greek Mythology Link Contents The Greek Mythology Link is a collection of myths retold by Carlos Parada, author of Genealogical Guide to Greek Mythology, published in 1993 (available at Amazon). The mythical accounts are based exclusively on ancient sources. Address: www.maicar.com About, Email. Copyright © 1997 Carlos Parada and Maicar Förlag. ISBN 978-91-976473-9-7 Contents VIII Divinities 1476 Major Divinities 1477 Page Immortals 1480 I Abbreviations 2 Other deities 1486 II Dictionaries 4 IX Miscellanea Genealogical Guide (6520 entries) 5 Three Main Ancestors 1489 Geographical Reference (1184) 500 Robe & Necklace of
    [Show full text]
  • Complete Dissertation
    University of Groningen Beginning of Doom Soerink, Jorn IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2014 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Soerink, J. (2014). Beginning of Doom: Statius Thebaid 5.499-753. Introduction, Text, Commentary. [S.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. 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. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 28-09-2021 Beginning of Doom Statius Thebaid 5.499-753: Introduction, Text, Commentary Proefschrift ter verkrijging van de graad van doctor aan de Rijksuniversiteit Groningen op gezag van de rector magnificus prof.
    [Show full text]
  • Apollodorus : the Library
    JU\r(^ Qksl 7^ani-hSin THE LOEB CLASSICAL LIBRARY EDITED BY E. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. H. D. ROUSE, Litt.D. APOLLODORUS THE LIBRARY I APOLLODOEUS THE LIBRARY WITH AN ENGLISH TRANSLATION BY SIR JAMES GEORGE FRAZER, F.B.A., F.R.S. FELLOW OF TRINITY COLLEGE, CAMBRIDGE IN TWO VOLUMES I LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM'S SONS MCMXXI FEB " 3 !940 TO MY OLD TEACHER AND FRIEND HENRY JACKSON, O.M. CONTENTS PAGK INTRODUCTION ix SUMMARY xlv SYMBOLS EMPLOYED IN THE CRITICAL NOTES llX 1 BOOK I • 127 BOOK II 295 BOOK Til Vll ERRATA. , Vol. , 73 For " Thestius " read " Agrius." Vol. II. P. 54. For "later version" read "earlier version." — INTRODUCTION I. The Author and His Book. Nothing is positively known, and little can be conjectured with any degree of probability, con- cerning the author of the Library. Writing in the ninth century of our era the patriarch Photius calls him Apollodorus the Gi'ammarian,^ and in the manu- scripts of his book he is described as Apollodorus the Athenian, Grammarian. Hence we may con- clude that Photius and the copyists identified our author with the eminent Athenian grammarian of that name, who flourished about 140 b.c. and wrote a number of learned works, now lost, including an elaborate treatise On the Gods in twenty-four books, and a poetical, or at all events versified. Chronicle in four books. 2 But in modern times good reasons have been given for rejecting this identification,^ ^ Photius, Bibliotheca, p.
    [Show full text]
  • Trends in Classics
    2014!·!VOLUME 6!· NUMBER 2 TRENDS IN CLASSICS EDITED BY Franco Montanari, Genova Antonios Rengakos, Thessaloniki SCIENTIFIC COMMITTEE Alberto Bernabé, Madrid Margarethe Billerbeck, Fribourg Claude Calame, EHESS, Paris Philip Hardie, Cambridge Stephen Harrison, Oxford Stephen Hinds, U of Washington, Seattle Richard Hunter, Cambridge Christina Kraus, Yale Giuseppe Mastromarco, Bari Gregory Nagy, Harvard Theodore D. Papanghelis, Thessaloniki Giusto Picone, Palermo Kurt Raaflaub, Brown University Bernhard Zimmermann, Freiburg Brought to you by | Staatsbibliothek zu Berlin Preussischer Kulturbesitz Authenticated Download Date | 11/7/14 11:19 PM ISSN 1866-7473 ∙ e-ISSN 1866-7481 All information regarding notes for contributors, subscriptions, Open access, back volumes and orders is available online at www.degruyter.com/tic Trends in Classics, a new journal and its accompanying series of Supplementary Volumes, will pub- lish innovative, interdisciplinary work which brings to the study of Greek and Latin texts the insights and methods of related disciplines such as narratology, intertextuality, reader-response criticism, and oral poetics. Trends in Classics will seek to publish research across the full range of classical antiquity. Submissions of manuscripts for the series and the journal are welcome to be sent directly to the editors: RESPONSIBLE EDITORS Prof. Franco Montanari, Università degli Studi di Genova, Italy. franco. [email protected], Prof. Antonios Rengakos, Aristotle University of Thessaloniki, Greece. [email protected] EDITORIAL
    [Show full text]