City-Foundation in Vergil's Aeneid David Harris Trinity University, [email protected]
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Trapani Eryx Segesta
AENEAS TODAY Aeneas’ Journey in Contemporary Literature www.aeneasroute.org Aeneas’ Journey in Contemporary Literature AENEAS’ JOURNEY IN CONTEMPORARY LITERATURE TRAPANI ERIX SEGESTA By Filomena Giannotti University of Siena Department of Philology and Critcism in Ancient and Modern Literatures Translated from Italian by Gavin Williams March 2021 Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature Index 1 Vincenzo Consolo, Sicily on Foot (1991) 2 Umberto Saba, Entellus (1946) Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature 1 VINCENZO CONSOLO, SICILY ON FOOT (1991) We stated, in reference to the origin of Segesta, the journey by the pious Aeneas to the banks of the Tiber. If, then, we were to go aboard a ship in the Trojan fleet, we could now get to know, place by place, just as Virgil names them, this western part of Sicily. Getting to see Trapani and the nearby woods, consecrated to Anchises, the beach where the sacrifices were made, and the games held in honour of the old king who had died, Lilybaeum with the cave of the Sibyl… And going up to the upper city of the Elymians and of the Trojans, to the temple of the goddess on the highest point … Poi vicino alle stelle, in vetta all’Érice, fondano un tempio a Venere Idalia … […] Virgil, making poetry out of the myth, tells us that the city [Egesta or Segesta] was founded by Aeneas, who left a number of companions here, under Aceste or Segeste, until fate, or the divine mission, led him to Lazio. -
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. -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Let's Think About This Reasonably: the Conflict of Passion and Reason
Let’s Think About This Reasonably: The Conflict of Passion and Reason in Virgil’s The Aeneid Scott Kleinpeter Course: English 121 Honors Instructor: Joan Faust Essay Type: Poetry Analysis It has long been a philosophical debate as to which is more important in human nature: the ability to feel or the ability to reason. Both functions are integral in our composition as balanced beings, but throughout history, some cultures have invested more importance in one than the other. Ancient Rome, being heavily influenced by stoicism, is probably the earliest example of a society based fundamentally on reason. Its most esteemed leaders and statesmen such as Cicero and Marcus Aurelius are widely praised today for their acumen in affairs of state and personal ethics which has survived as part of the classical canon. But when mentioning the classical canon, and the argument that reason is essential to civilization, a reader need not look further than Virgil’s The Aeneid for a more relevant text. The Aeneid’s protagonist, Aeneas, is a pious man who relies on reason instead of passion to see him through adversities and whose actions are foiled by a cast of overly passionate characters. Personages such as Dido and Juno are both portrayed as emotionally-laden characters whose will is undermined by their more rational counterparts. Also, reason’s importance is expressed in a different way in Book VI when Aeneas’s father explains the role reason will play in the future Roman Empire. Because The Aeneid’s antagonists are capricious individuals who either die or never find contentment, the text very clearly shows the necessity of reason as a human trait for survival and as a means to discover lasting happiness. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
2013 Virginia Senior Classical League State Finals Certamen Level III NOTE to MODERATORS: in Answers, Information in Parentheses Is Optional Extra Information
2013 Virginia Senior Classical League State Finals Certamen Level III NOTE TO MODERATORS: in answers, information in parentheses is optional extra information. A slash ( / ) indicates an alternate answer. Underlined portions of a longer, narrative answer indicate required information. ROUND ONE 1. TOSSUP: From what Latin noun, with what meaning, do the words ignition and igneous ultimately derive? ANS: IGNIS, FIRE BONUS: From what Latin verb, with what meaning, do the words coherent and adhesion derive? ANS: HAEREŌ, STICK/CLING 2. TOSSUP: According to Livy and Plutarch, what legendary Roman triumphed four times, was dictator five times, was never once consul, was honored with the title “Second Founder of Rome,” and conquered the city of Veii in 396 BC? ANS: (M. FURIUS) CAMILLUS BONUS: Following the victory over Veii, for what accusation did his political adversaries impeach Camillus? ANS: EMBEZZLEMENT 3. TOSSUP: According to Hesiod, what moon titan, the daughter of Ouranos and Gaia, bore Leto from the union with her brother Coeus? ANS: PHOEBE BONUS: According to Hesiod, what Star goddess was also the daughter of Phoebe and Coeus and the mother of Hecate? ANS: Asteria 4. TOSSUP: What fifteen-book work of Ovid ends with the apotheosis of Julius Caesar? ANS: METAMORPHOSES BONUS: What other work of Ovid, consisting of epistolary poems written by mythological heroines, allowed him to claim that he had created a new genre of mythological elegy? ANS: HEROIDES rd 5. TOSSUP: Give the 3 person singular, pluperfect active subjunctive of noceō, nocēre. ANS: NOCUISSET nd BONUS: Now give the 2 person plural present subjunctive of morior, morī. -
The Wolf in Virgil Lee Fratantuono
The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des -
Latin: Figures of Speech & Rhetorical Devices
LATIN: FIGURES OF SPEECH & RHETORICAL DEVICES ALLITERATION (L., toward the same letters) Repetition of the same sound, usually initial, in two or more words. This term normally applies to consonants and accented initial vowel (magno cum murmure montis, Aeneid 1.55). ANAPHORA (Gk., carrying back) Repetition of a word, usually at the beginning of successive clauses or phrases, for emphasis or for pathetic effect. This figure is often accompanied by asyndeton and ellipsis (hic illius arma, hic currus fuit; hoc regnum..., Aeneid 1.16-17; ubi...ubi...ubi, Aeneid 1.99-100). APOSIOPESIS (Gk., becoming silent) An abrupt failure to complete a sentence, for rhetorical effect (Quos ego - , Aeneid 1.135). APOSTROPHE (Gk., turning away) Address of an absent person or an abstraction, usually for pathetic effect (o terque quaterque beati, Aeneid 1.94). ASSONANCE (L., answer with the same sound) The close recurrence of similar sounds, usually used of vowel sounds (amissos longo socios sermone requirunt, Aeneid 1.217). ASYNDETON (Gk., not bound together) Omission of conjunctions in a closely related series (don’t confuse with anaphora). CHIASMUS (Gk., marking with diagonal lines like a X) Arrangement of pairs of words in opposite order ABBA ELLIPSE (Gk., leaving out) Is the suppression of a word or of several words of minor importance the logical expression of the thought, but necessary to the construction. It allows for brevity, force and liveliness and often unconsciously supplied. ENJAMBMENT (Fr., the act of straddling) The running over of a sentence from one verse or couplet into another so that closely related words fall in different lines (ac veluti magno in populo cum saepe coorta est seditio, Aeneid 1.148-49). -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Sacred Landscape in Early Rome. Preliminary Notes on the Relationship Between Space, Religious Beliefs and Urbanisation
Sacred Landscape in Early Rome. Preliminary Notes on the Relationship between Space, Religious Beliefs and Urbanisation Vincenzo Timpano Abstract: The relationship between strategies of territorial occupation and religious beliefs has been of great importance for ancient urbanisation, particularly during the early stages of the process. Strategies adopted during this more or less long period responded not only to economic considerations and function- ality, but also to complex systems of religious beliefs, developed in correlation with the surrounding land- scape. The position of public buildings, above all those of a sacred and/or sacred-political character, was never casual and has played an important role in creating a sacred-ritual landscape, a fil rouge which through processions and other forms of interaction connected different parts of a city. With a specific regard to the city of Rome, this preliminary study highlights the formation of a sacred landscape at the beginning of the urbanisation process, between the end of the Iron Age and the Oriental- ising period.1 Introduction note a progressive consolidation of the socio- The urbanisation processes that took place in political and sacred structure of these centres, a the western part of the ancient Mediterranean clear indication of the acquisition of the urban world depended on a variety of diversified fac- form,5 i.e. more complex entities which may be tors.2 Between the final period of the Bronze defined as cities. Age and the early phases of the Iron Age, the Tyrrhenian region of the Italian peninsula ex- Starting from Fustel de Coulanges, researchers perienced a series of long-lasting processes,3 from different research areas have provided which resulted in the formation of large proto- various definitions of what constitutes a city. -
SUMMER 2016 HONORS LATIN III GRADE 11: Title: Roman Blood
SUMMER 2016 HONORS LATIN III GRADE 11: Title: Roman Blood: A Novel of Ancient Rome Author: Steven Saylor Publisher: St. Martin’s Minotaur Year: 2000 ISBN: 9780312972967 You will be creating a magazine based on this novel. Be creative. Everything about your magazine should be centered around the theme of the novel. Your magazine must contain the following: Cover Table of Contents One: Crossword puzzle OR Word search OR Cryptogram At least 6 (six) news articles which may consist of character interviews, background on the time period, slave/master relationship, Roman law, etc. It is not necessary to interview Saylor. One of the following: horoscopes (relevant to the novel), cartoons (relevant to the novel), recipes (relevant to the novel), want ads (relevant to the novel), general advertisements for products/services (relevant to the novel). There must be no “white/blank” space in the magazine. It must be laid out and must look like a magazine and not just pages stapled together. This must be typed and neatly done. Due date is first day of school in August. PLEASE NOTE: You will need $25 for membership in the Classical organizations and for participation in three national exams. Due date: September 1, 2016. Thank you. SUMMER 2016 LATIN II GRADE 10: Amsco Workbook: Work on the review sections after verbs, nouns and adjectives. Complete all mastery exercises on pp. 36-39, 59-61, 64-66, 92-95, 102-104. Please be sure to study all relevant vocab in these mastery exercises. Due date is first day of school in August. PLEASE NOTE: You will need $25 for membership in the Classical organizations and for participation in three national exams.