DOCSLIB.ORG

Memory and the Sensations of War in Vergil's Aeneid and Kevin Powers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Memory and the Sensations of War in Vergil's Aeneid and Kevin Powers Walter A. ‘What it felt like‘: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds. In: Ambühl,A, ed. War of the Senses - The Senses in War. Interactions and tensions between representations of war in classical and modern culture = thersites 4. Mainz: Johannes Gutenberg-Universitaet Mainz; Institut fuer Altertumswissenschaften, Klassische Philologie, 2016, pp.275–312. Copyright: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Link to article: http://www.thersites.uni-mainz.de/index.php/thr/article/view/37 Date deposited: 12/01/2018 This work is licensed under a Creative Commons Attribution 3.0 Unported License Newcastle University ePrints - eprint.ncl.ac.uk ANKE WALTER, “What it felt like”: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds, in: Annemarie Ambühl (ed.), Krieg der Sinne – Die Sinne im Krieg. Kriegsdarstellungen im Spannungsfeld zwischen antiker und moderner Kultur / War of the Senses – The Senses in War. Interactions and tensions between representations of war in classical and modern culture = thersites 4 (2016), 275-312. KEYWORDS war; senses; memory; Vergil; Aeneid; novel; Iraq; Kevin Powers; The Yellow Birds ABSTRACT (English) The Nisus and Euryalus episode in the ninth book of Vergil’s Aeneid and Kevin Powers’ 2012 novel The Yellow Birds on a soldier’s experiences in the year 2004 during the American War in Iraq are both constructed around a very similar story pattern of two friends who go to war together and are faced with bloodlust, cruelty, death, mutilation, and the duties of friendship, as well as the grief and silencing of a bereft mother. While the narrative and commemorative background of the two texts is very different – including the sense of an anchoring in tradition, the role of memory, even the existence of a coherent plotline itself – both the Augustan epic and the modern novel employ strikingly similar techniques and sensory imagery in their bid to convey the fundamental experience of warfare and of “what it felt like” as vividly as possible. ABSTRACT (German) Die Episode von Nisus und Euryalus im neunten Buch der Aeneis Vergils und Kevin Powers’ Roman The Yellow Birds (2012) über die Erfahrungen eines Soldaten im Jahr 2004 während des amerikanischen Krieges gegen den Irak sind um ein sehr ähnliches Handlungsschema herum konstruiert: Es geht um zwei Freunde, die zusammen in den Krieg ziehen und mit blutigem Morden, Grausamkeit, Tod, Verstümmelung und den Pflichten der Freundschaft konfrontiert werden, ebenso wie um die Trauer der Mutter, die zum Schweigen gebracht wird. Während die beiden Texte in einem sehr unterschiedlichen erzählerischen und kommemorativen Kontext stehen – wie sich etwa an der Verankerung ihrer Protagonisten in einer Tradition, der Rolle der Erinnerung, sogar der Existenz eines festen Handlungsschemas selbst erkennen lässt – werden im augusteischen Epos und im modernen Kriegsroman vergleichbare Erzähltechniken und die Sinne ansprechende Bilder verwendet, um die Erfahrung des Krieges und “wie es sich anfühlte” so lebendig wie möglich zu vermitteln. “What it felt like”: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds Anke Walter (Rostock) I. Introduction Among the many paradoxes of war, one directly pertains to ancient and modern war narratives: for all technological advances which have fundamentally transformed the face of battle, the existential feelings aroused by war basically remain the same – revulsion at the atrocities committed, fear of death, the mourning of the fallen.1 When literary narratives, even if they are separated by thousands of years, set out to represent war and its horrors, to convey “what it felt like”,2 they face very similar challenges.3 Even the imagery and the literary devices used to represent war often remain astonishingly stable over time. By appealing in similar ways to sensory experiences and feelings which are accessible to all humans alike, texts from very different periods aim at bridging the gap between past and present, 1 Cf. Chrissanthos (2007) on the similarities between ancient and modern warfare and its effects on those involved in it; cf. also the works of Shay (1994); Shay (2003); Tritle (2000). However, Smith (2015) 3 rightly cautions that the meaning people attach to certain sensory experiences and the way they experience them are in fact changed by the events and developments which have occurred between the past and the present; cf. Polleichtner (2009) 38–39 for the different periods of antiquity. Melchior (2011) too argues that “we experience war very differently from the way the Romans did” (221); cf. also Konstan (2014); Crowley (2014). – What matters here, however, is not so much the exact identity of feelings, but the fact that such descriptions can arouse at least similar impressions in readers then and now. 2 This, at least, is how Kevin Powers, author of The Yellow Birds, describes one of the central aims of his novel: cf. Paul Harris, “Emerging wave of Iraq fiction examines America’s role in ‘bullshit war’” The Guardian, 3 January 2013, last accessed 11/26/2016 (http://www.theguardian.com/world/2013/jan/03/iraq-fiction-us-military-war). Given that Powers’ novel had not yet appeared when Kleppien (2010) published his survey of the representation of war in American literature, The Yellow Birds might well be “the Great Iraq War Novel” which, according to Kleppien (p. 408) was still lacking in 2010. 3 Cf. McLoughlin (2009) on “war and words”. 275 Anke Walter between those who have fought in the war and the outsiders.4 And yet, by a further paradox, precisely these most immediately accessible passages of a text, in their larger commemorative and narrative function, also serve to illustrate very well how the larger contexts of memory and commemoration, of tradition and the power of storytelling might considerably change over time. I here propose to examine two texts, which are far removed in time, but which tell a similar story, albeit in very different commemorative contexts: Kevin Powers’ war novel The Yellow Birds5 from 2012 and Vergil’s epic Aeneid, dating to the time of the Roman emperor Augustus. There are a number of striking parallels between the Nisus and Euryalus episode in the Aeneid and the general plot of The Yellow Birds. Both texts are about two friends who go to war together, the death of the one, the duties of friendship which fall on the other, a promise that had been made to – or, in the case of the Aeneid, regarding – the mother of one of them, and that mother’s grief, as well as the public silencing of her mourning. However, it is important to note that the use of these motifs in Kevin Powers’ novel cannot be traced back to the Aeneid in particular. Beyond the general similarities sketched out above, no specific hint at the Vergilian text can be found. The comparison between the Aeneid and Kevin Powers’ novel, which I am going to draw, should therefore be understood not as a case study of direct allusion and influence, but rather as a comparison between two texts and their respective cultural contexts.6 These cultural contexts could hardly be more different, in particular as far as memory is concerned. The one an ancient epic, devoted to the heroic deeds of the great Roman founding father Aeneas, whose victory in the war against Italian tribes paves the way for the foundation of Rome, the other a modern novel on a war not universally regarded as successful. The one an 4 On the problems of depicting wars ancient and modern, cf. e.g. McLoughlin (2009); McLoughlin (2011); Spina (2011); on the depiction and role of “people in war”, Cole (2009). Cf. also Smith (2015) on the role of the senses in accounts of the American Civil War. 5 For the associations inherent in the title, cf. S. Crown, “Kevin Powers on The Yellow Birds: ‘I felt those things, and asked the same questions’”, The Guardian, 11/13/2012 (https://www.theguardian.com/books/2012/nov/13/kevin-powers-the-yellow-birds; last accessed 11/26/2016), as well as p. 139 of the novel (Powers (2013). 6 For the role played by references to Vergil in the context of the war in Iraq, cf. Thomas (2015). Cf. Hawkins (2014) on the place of The Yellow Birds in the tradition of modern war literature. 276 Memory and the Sensations of War in Vergil and Kevin Powers epic on a war long past, the other a text on a recent war,7 which is not strictly autobiographical, but which does reflect the author’s own experience as a soldier in the war in Iraq.8 But still, both texts employ strikingly similar imagery to convey a vivid impression of the war. The reader can thus partake in the sensory perceptions and emotions of the protagonists – but also, in the modern novel, experience the loss of a sense of tradition and of a coherent plot, in which the individual images and sensory impressions can be firmly placed. Although we are here not dealing with a clear case of the reception of an ancient text in a modern work, reading the Aeneid and The Yellow Birds side by side enhances our understanding of both texts. Approaching the modern war novel with the Vergilian paradigm in mind underscores just how disturbing the world as described there has become, while the modern text also reflects back on the Aeneid. For its crucial importance as Rome’s foundational epic and a central text of Augustan Rome, it also reflects the experience of war, even if in a highly literary form.
Load more

Recommended publications
  • The Roman Poets of the Augustan Age: Virgil by W
    The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies.
    [Show full text]
  • 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.
    [Show full text]
  • CLA 2323A Greek Mythology
    Outline of the Iliad CLCV 2000A Classical Mythology Book 1 C. Hektor finds Andromache and Astyanax (369-502) I. The Quarrel (1-430) V. Paris and Hektor return to the fighting (503-529) II. Return of Chryseis to her home (430-492) Book 7 III. Balancing scene among the gods (493-611) I. Hektor and Paris return to battle (1-16) Book 2 II. Duel between Hektor and Aias (17-322) I. Agamemnon tests the army (1-154) III. Fighting halted to bury the dead (323-482) A. Odysseus recalls the troops (155-210) A. Greeks dig walls around ships (323-344) B. Thersites episode (211-332) B. Paris refuses to return Helen but offers other gifts (345-397) C. Nestor’s counsel (333-483) C. Greeks refuse Paris’ gifts (398-420) II. Catalogue of Greek Ships (484-785) D. Cremation of dead, Greeks build walls (421-482) III. Catalogue of Trojan troops (786-877) Book 8 Book 3 I. Assembly of gods; Zeus forbids gods to take part in battle (1-52) I. Truce by single combat between Paris and Menelaos (1-120) II. A day of fighting (53-349) II. The Teichoskopeia (Helen’s ‘View from the Wall’) (121-244) A. Battle begins with the scales of Zeus (53-65) III. The duel and the rescue (245-382) B. Nestor threatened by Hektor, rescued by Diomedes (78-166) IV. Helen and Paris (383-461) C. Advance of Trojans under Hektor (167-216) Book 4 D. Agamemnon rallies troops (217-334) I. Pandaros breaks the truce (1-122) E.
    [Show full text]
  • Lecture 14 Aeneid 12: War in Italy MDS1TRW the Roman World: Myth
    MDS1TRW The Roman World: Myth and Empire Lecture 14 Aeneid 12: War in Italy hp://www.eBay.co.uk/itm/The-Aeneid-Rare-Card-LieBiG-Set-Part-II-Greece-Greek-Camille-Nisus-Gladiator/130940254241?_trksid=p2047675.m1850&_trkparms=aid%3D222002%26alGo%3DSIC.FIT%26ao %3D1%26asc%3D11%26meid%3D1158694072794277908%26pid%3D100011%26prG%3D1005%26rk%3D4%26rkt%3D5%26sd%3D380663535810%26 AENEID BOOKS 7-12 WAR IN LATIUM 7: Allecto ‘infects’ Turnus and Amata 8: Aeneas visits Evander at Pallanteum (’Rome’) 9: NiGht raid: Nisus and Euryalus (c.f. Iliad 10 Doloneia) 10: Turnus vs. Pallas, Aeneas vs. Mezenaus 11: MourninG for Pallas; truce; Camilla 12: Final duel AENEID BOOKS 7-12: THE ‘GREATER WORK’ New proem: 7.40 (p.141) – ‘Come now, Erato’ Use of first person sinGular ‘I shall tell’ REPLAYING THE TROJAN WAR Love trianGles: • Helen, Menelaus, Paris • Lavinia, Turnus, Aeneas • c.f. 7.96 (p.143) oracle: no marriage to a Lan Sibyl’s prophey (6.82f. = p.117) • ‘A second Achilles’ [Iliad and anGer of Achilles] • son of a Goddess – Venilia // Thes • N.B. father Daunus, Rutulian king (//Priam?) • sister Juturna (// Apollo – protector of Hector) • A. & T. as Achilles and Hector: But which is which? Book of fathers and sons 1. Turnus vs. Pallas 10.440-509 • aer Pallas’ aristeia • T: ‘Pallas is mine, and mine alone. I wish his father were here to see it.’ • Pallas also Bloodthirsty (10.459f.) • c.f. Evander’s paranG speech (8.560f. pp.166): ‘my only source of joy’ • P. killed in spear comBat • T. strips Body – Belt // Hector & Patroclus (Iliad 18) FUROR AND PIETAS IN BOOK 10 Aeneas: revenGe and furor • vicams (incl.
    [Show full text]
  • Iliad Aristeia Chart – 3Rd Period 2018
    Iliad Aristeia Chart – 3rd Period 2018 Aristeia: a soldier’s highest moment of glory in war, when he fights so bravely and single-mindedly as to experience no fear and to appear nearly invincible Instructions: Keep track of the aristeias in the epic as we read. Be sure to take note of line numbers so that you may refer back to the text with ease. Read carefully, but be aware that some of the character’s aristeias will be incomplete. Character: Character: Character: Character: Agamemnon Hector ________________________ ________________________ 1. Divine inspiration/ Page 296, 11. 11-14 Page 303 Iris (sent by Zeus) exhortation: Who/what inspires the hero’s “There Strife took her stand, Lines 233-242 aristeia? raising her high-pitched cry, “But soon as a spear or bowshot great and terrible . in each wound the king and Atrides Achaean’s heart – no stopping mount his chariot again – then them now” Zeus will hand you the power to (Strife = Eris/Goddes of kill and kill” Discord) 2. Armoring: What Page 297, 11. 18-50 “Hector leapt to the ground does the hero put on, from his chariot fully armed and in what order? Be 1. “wrapped his legs with well and brandishing two sharp detailed! made greaves” spears” (lines 245-246) 2. “strapped the breastplate round his chest” (ornate guest- gift for Ag. leaving for Troy) 3. “slung his sword” 4. “well-wrought shield” 5. “set his helmet” 6. “two tough spears” So fearsome looking “awestruck at the sight Athena and Hera loosed a crack of thunder” 3. Bursting into the Line 107 – “And right in the Bursting into ranks: “Hector – ranks of the enemy: midst sprang Agamemnon first whipping the fight and fire in How does the hero and killed a fighter” each man like a huntsman .
    [Show full text]
  • Satan As the Hero of Paradise Lost
    Satan as the hero of Paradise Lost Tvrtković, Mak Master's thesis / Diplomski rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, University of Zagreb, Faculty of Humanities and Social Sciences / Sveučilište u Zagrebu, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:131:756766 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-28 Repository / Repozitorij: ODRAZ - open repository of the University of Zagreb Faculty of Humanities and Social Sciences Odsjek za anglistiku Filozofski fakultet Sveu čilište u Zagrebu Diplomski rad Satan as the hero of Paradise Lost Književno-kulturološki smjer Kandidat: Mak Tvrtkovi ć Mentor: dr. sc. Tomislav Brlek, izv. prof. Akademska godina: 2018./2019. Table of Contents Introduction: John Milton and Paradise Lost ............................................................................ 2 Paradise Lost in short .............................................................................................................. 4 Heroic Devil ....................................................................................................................... 5 Types of heroes .......................................................................................................................... 8 Prometheus and Satan ........................................................................................................... 12 Milton as Satan, Satan as Milton ....................................................................................
    [Show full text]
  • Esposito,Michael Dissertation Persuasion in the Aeneid
    PERSUASION IN THE AENEID A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Michael Esposito December 2017 © 2017 Michael Esposito PERSUASION IN THE AENEID Michael Esposito, Ph.D. Cornell University 2017 This dissertation is an analysis of how characters in the Aeneid acquire and use knowledge to manipulate their addressees, and of how the Vergilian narrator employs similar strategies to manipulate his reader. The first three chapters are readings of speeches and scenes informed by a focus on each character’s rhetorical goals and persuasive strategies. I concentrate particularly on passages in which characters invent, distort, and speak tendentiously in other ways. The final two chapters argue that the Vergilian narrator is misdirecting, because he uses untrue character speech to raise unfulfilled expectations, and that he is suppressive, because he leaves out much, and displaces the telling of much onto unreliable characters’ claims. In the first chapter I examine how the reader perceives what characters in the Aeneid know, how the characters come to know, and how they use what they know. In the second chapter I interpret the diplomatic exchanges between Ilioneus and Latinus and between Aeneas and Evander as rhetorical contests for advantage, informed by the chaotic military and political world that is Vergil’s Italy. In the third chapter I argue that the speech in the last four books shifts to disputing the responsibility for the outbreak of the war and the question of over what the war is being fought.
    [Show full text]
  • AP® Latin Teaching the Aeneid
    Professional Development AP® Latin Teaching The Aeneid Curriculum Module The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.org. © 2011 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Contents Introduction................................................................................................. 1 Jill Crooker Minor Characters in The Aeneid...........................................................3 Donald Connor Integrating Multiple-Choice Questions into AP® Latin Instruction....................................................................
    [Show full text]
  • Vergil and the English Poets Columbia University Press Sales Agents
    Book .N h Copyright N^ CDRORIGHT DEPOSIT. Columbia Wini\itt0itv STUDIES IN ENGLISH AND COMPARATIVE LITERATURE VERGIL AND THE ENGLISH POETS COLUMBIA UNIVERSITY PRESS SALES AGENTS NEW YOltK LEMCKE & BUECHNER 30-32 Eabt 27tu Stueet LONDON HUMPHREY MILFORD Amen Corner, E.G. SHANGHAI EDWARD EVANS & SONS, Ltd. 30 North Szechuen Road VERGIL AND THE ENGLISH POETS BY ELIZABETH NITCHIE, Ph. D. Instructor in English in Goucher Collegb ^^^'^^^ COLUMBIA UNIVERSITY PRESS 1919 All rights reserved < Copyright, 1919 By Columbia University Press Printed from type, April, 1919 ^ k7 i9!9 ©CI.A515690 -v- .', ( This Monograph has been approved by the Department of English and Comparative Literature in Columbia University as a contribution to knowledge worthy of publication. A. H. THORNDIKE, Executive Officer PREFACE This book has grown out of a long-standing interest in the classics and a feeling that the connection between the Uterature of Greece and Rome and that of England is too seldom realized and too seldom stressed by the lovers and teachers of both. As Sir Gilbert Murray has said in his recent presidential address to the Classical Association of England, The Religion of a Man of Letters, ^^ Paradise Lost and Prometheus Unbound are . the children of Vergil and Homer, of Aeschylus and Plato. Let us admit that there must of necessity be in all English literature a strain of what one may call vernacular English thought. ... It remains true that from the Renaissance onward, nay, from Chaucer and even from Alfred, the higher and more massive workings of our literature owe more to the Greeks and Romans than to our own un-Romanized ancestors." Vergil has probably exerted more influence upon the literature of England throughout its whole course and in all its branches than any other Roman poet.
    [Show full text]
  • The Problem of Originality in Vergil
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1937 The Problem of Originality in Vergil Arthur Vincent Kanuch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classical Literature and Philology Commons Recommended Citation Kanuch, Arthur Vincent, "The Problem of Originality in Vergil" (1937). Master's Theses. 636. https://ecommons.luc.edu/luc_theses/636 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1937 Arthur Vincent Kanuch -- .' THE PROBLEM OF ORIGINALITY IN VERGIL by Arthur Vincent Kanuch, S. J. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Loyola University. 1937 .' TABLE OF CONTENTS Chapter I ", Introduction Vergilts place among his contemporaries.. -- His influence through the ages ••••••••••••••••••••• I Chapter II Mr. Saintsbury's fHaeresis Vergiliana' Nineteenth century attack on Vergil's poetic ability -- Mr. George Saintsbury's criticism Vergil's greatness, originality, and poetic ability questioned •••••••••••••••••••••••••••• 5 Chapter III Macrobius and Vergil Early critics of Vergil -- Macrobius defends Vergil -- Original in his use of borrowed material ......................................• 15 ~'------------------------------------------. Chapter IV .' Poetic Creation Literary creation nothing more than combination All great poets, such as Danta, Shakespeare, Milton, etc., borrowed from their predecessors John Livingston Lowes' explanation of origi­ nality -- Mr. Lowes discovers the.
    [Show full text]
  • Female Aristeiai and Women in Masculine Roles in Epic Literature Bethany Chasteen
    Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2013 Female Aristeiai and Women in Masculine Roles in Epic Literature Bethany Chasteen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES FEMALE ARISTEIAI AND WOMEN IN MASCULINE ROLES IN EPIC LITERATURE By BETHANY CHASTEEN A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring, 2013 Chasteen 2 The members of the Defense Committee approve the thesis of Bethany Chasteen defended on April 15, 2013. ______________________________ Dr. Francis Cairns Thesis Director ______________________________ Dr. Kathryn Stoddard Outside Committee Member ______________________________ Dr. Laurel Fulkerson Committee Member Chasteen 3 Table of Contents Introduction ..................................................................................................................................... 4 Chapter One: The Aristeia Of Male Heroes ................................................................................... 8 Chapter Two: The Aristeia Of Penthesileia .................................................................................. 16 Chapter Three: The Aristeia Of Hera............................................................................................ 26 Chapter Four: The Aristeia of Dido .............................................................................................
    [Show full text]
  • Emasculating Jason: Narratology and Gender in Apollonius’ Argonautica 3-4
    Emasculating Jason: Narratology and Gender in Apollonius’ Argonautica 3-4 That Apollonius constantly reworks details, scenes, vocabulary, and more from the Homeric poems has long been established. The specific Homeric echoes of the confrontation between Jason and Medea in Book 3 of Apollonius’ Argonautica have not gone unnoticed, either. In particular, Richard Hunter’s notes reworkings of the confrontation between Hector and Achilles of Iliad 22 in Argonautica 3 (Hunter, 1989). The focus on Apollonian connections to the Homeric tradition, however, has largely been based on linguistic similarities, whereas other points of connection, especially thematic relationships, between Apollonius and the Homeric epics have gone unremarked (Lennox, 1980). A detailed analysis of Apollonius’ reworking of Homeric type-scenes in general, and of how Apollonius does this in the confrontation between Jason and Medea, has yet to be accomplished. Campbell’s commentary, while noting the similarities between this section and the meeting of Odysseus and Nausicaa in Odyssey 6—certainly an important connection—does not note the connections to Homeric aristeiai (Campbell 1983). Beye has noted that “Jason’s meeting with Medea has the climactic tension of an aristeia,” but delves no deeper and moves on to discussing Jason’s contest as the aristeia “truer to the epic tradition,” (Beye 1982). Apollonius tends to portray Homeric elements in quite unusual ways, and so he does here: Jason begins an aristeia, entering not a battle of swords and spears, but a contest of wits and words with Medea. The scene contains the tropes commonly found in such type-scenes in the Homeric epics, and certain elements draw specific comparisons to aristeiai in the Iliad.
    [Show full text]