F[* H Ffiaa 1 }!Qeg1 Ia Isaeef;Re

Total Page:16

File Type:pdf, Size:1020Kb

F[* H Ffiaa 1 }!Qeg1 Ia Isaeef;Re R f.tls s! = 'A? aaaEealffiEE'g Eatet l'ffiaali lig1 , a*r a $ a?a;- a Esai€i ie g}g?;EgE[ ial ?EEi5 gIE I- F;?g iig ' F[* H ffiaa 1 }!qEg1 ia isaEEF;rE o#<n^ ffiF \ \ \\\ EFS g-E-:ilEg.E.g E 5 f E ig, ;Tg E F rE$ e' A 1;.; * ia F g g H;\ it;6 + Fi:iEglg$gEEE*E[EE : F3i.;;6.E > g AsI .38i6 ,-' # lc** 519 E s ?1 $ *?ii .E= gfi3 i ?lH r +EF i * $ --P.> o o._-if ,sXxI o 16_5 f F$ istF aq$ ssxlg a 3"AY E : J.! oa r S = = = ^ :t s. *.3;= q= ! { +61 3 * * = f ,t +sFs g{i e ! E; E *E FFrr s[*+ Ei* [:i:fr * oE q$ 1s:diiae cL r iig ; i! E H' uigg P e:,:* iHts ? g ;"E ;BFE P it i;*ei 6 F1Y * 9! gg i I ;F;s"E:=.q9* F 3 Irs Ji:I t fi$F ; ;6-.9X16 I b 7 ;t :ir:+T1i ;X r383l3s J J o<! *;t h o:i6 6 giEEE o- :oil Gt= + ^:.o r_I C = +F 5F;s F*+ FB'B 3= I L=41 if- F rJ;Ei rg 9 P ; o U 93 o 6 =.':Y* = '€ m 3r[ r*3 t + elrl 5 EEs fi1i= H*3 s E =I Re+y Et Ii5E €f is*Ts= F*-u I r *,HEE o= rF +idi g : risE o ila^lvus- n 5 €** -= gs=[ E 6 <6'T== H@ "YT !i;os-:d6l ='q' X?a 3ia s€,,i + i ; c.#-= : Li F '*irl 65 +E a ed €[ =ad $AII 96= =q 'gEl$ I *tg i o ,6 l.'r - Thc Temperomentql llosiciqn: f, pollo Artemis's brother, Apoilo, was iust as sure a shot. The god of archery-as well as of music, prophecy, healing, and youth-got an early start on his art. Apollo was iust four days old when he demanded a bow and arrows, which Hephaestus created for him. He immedi- ately set out in pursuit of the serpent that Hera had sent to torment his mother, Leto. The serpent, Python, sought refuge at Delphl. But Apollo heedlessly followed Python into the ,1, shrine of the Oracle of Mother Earth and killed him there. ,i' iJ Gaia was of course outraged at this defilement of her shrine. Yet after Apollo was purified for his crime in Crete, he learned the art of prophecy-perhaps from Pan, the goat-legged god ofthe flock and herds. In any case, he soon took over the Oracle at Delphi. Through the Oracle of Apollo (as it was renamed), the god became so closely associated with the art of prophery that almost all seers soon claimed to have been either taught or fathered :. by him. i :J i: Originally a herdsman, Apollo was the first god charged with protecting flocks and herds. (Pan was associated primarily with goats and sheep that grazed in rural and wild areas; Apollo-and later Hermes-more with cattle that grazed in fields on the outskirts of the city.) But he later tumed these duties over to Hermes in exchange for some musical instruments the younger god had devised. Apollo demonstrated such talent as a musician that he soon became a god of that art, too. Some even credit the god with having in- ventedt}r1e cithara. ;i ,.1| Some dared to challenge Apollo's musical talents-but a{ never more than once. A satyr named Marsyas once ,i. found a flute made from the bones of a stag. (Athena ffir* L@@@$ -.!' had made this flute, but had angrily thrown it away musical when the laughter of the other immortals made her instrument th*t r0sembled a realize how ridiculous she looked when she puffed out hrg€ lyr€, her cheeks to play it.) Still inspired by Athena, the flute played rapturous music. Listeners even compared the satyr's playing favorably to Apollo's playing of the lyre. This comparison enraged Apollo, who immediately tf,lrcl I lsrl, challenged Marsyas to a contest. The contestants agreed Pan ako lost a that the winner could choose any punishment for the muskal contest loser. The iury of Muses found both players magnifi- toApollo.. cent. So Apollo dared the satyr to try to do what he ThrvughTrrolus, the awarded the prize himself could do: turn his instrument upside-down and iudge, ro Apof.lo, Mdas--the king of play it-and sing while playing. Marsyas, of course, Phryryia-remarked that he could do neither with a flute. hlmsdf llked Pan's playing Impressed by his versatility, the Muses judged Apollo best. Apollo punished Midas giving the best musician. Not content with merely winning, by htrn the ears of an as3. Apollo then chose a brutal punishmeilt for Marsyas: He skinned the satyr alive and nailed his skin to a pine tree. Apollo never married, but he was by no means a celibate. He fathered more than a dozen children by at least nine different partners. Yet his most persistent courtship-that of Daphne, a mountain nymph-was never rewarded. Apollo first eliminated the competition. Leucippus, the son of King Oenomaus of Pisa, also loved Daphne-so much that he once disguised himself as a girl iust to be with her while she engaged in her mountain revels with other nymphs. But Apollo knew of this charade-and so the god quietly advised the nymphs to bathe naked. When Leucippus was exposed-literally and figuratively-the nymphs tore him to shreds. f,llido L^Fel Though Apollo alone now wooed her, Daphne still refused Apollo also him. Ultimateiy, she changed into a laurel tree rather than wooed a beautiful submit to his desires. Thereafter, Apollo made the laurel his younSman, sacred plant. ---"<4 Hyactnthus. Sadln while Apollo was Others refused Apollo, too. When Zeus ruled that Marpessa, teachirig the boy how t0 daughter of the river god Evenus, could choose between her throw the discus, the West two suitors, she chose the morta.l Idas. (She suspected that Wind'who also desired Apollo's amorous interest would wane as she grew older.) Hyactulthus-.-redlrected th€ mlssile strAight into the boy's The nymph Sinope used cleverness to escape Apollo's hea4 ktuinS htn instanrly. advances. Sinope agreed to surrender herself to the god, but The dnrps of blood that fell only if he first granted her a wish. When Apollo swore to from his head ytelded the give her anything she wanted, Sinope revealed her wish: to flower hy4cinth. remain a virgin for all of her days. (Some storytellers say that Sinope had used this same trick to avoid Zeus's dmbrace..y E 6 T5r *oql e^+39 a Eqr 6.| &Elri+H!>.B6&a> > o gdx D ;a.i3 gfq; fii314 EB F ag: gg€BgFggg$iElgE ;E=43FS3ifi?B-6;=-:.-<:toEx = --:_q=.=f=-o.-x-3 g s ssE FE r -;=:16x d o Ff.B tid€ =E EE ta 36.:- aEF g -dso 6 d iafl"'349 ?H ;-e*f > <; ' €6 o o O f < o -l qE9" o rO= E 6 3P E :*ae- riE J X o= 5 oJ r(o E 6 o o- o o 6o^= -'= o ='6-r o 8to o oftlv- o- 5', !!.o \< _e6 € a ='o 7 o rD--9dO6- o a O<: aad f'-(O 7 =_q. o PP9; :gEiligglggill n o doi= gt o, Ig 7tD :$ OJ f = o- 6I O+aQ +9d-3 o=. -- r+ o{ :--r >l 9'=iJ o-o (t d r.9. E 96' o o f ;s' &a ao' -€ o o, :f g[+iEi$FiEiEFi o- *S o a,:, 6a o ftE € {+ sd +r$$iflit$ea+l q; fbs" d dA;'afl. sC ei+. ;.r:ir., i .:{}r,!rt%;r; :!+1.; tr*4*r rr-.+jd3+f:+;aM{;s..14f*i,1:ir if.l:4:l:i iiiBi d-o a!5 o=. d= = maS> o oo=< E= fld*Ef $ 6' c Ee34s @= asseE 3 di96<-a! d A-.+-6 E2 - P d 06 0*; J n€ I ? X cof€ -3a>O g to c X o 33 4E :. @ o:- PF qg qouO-nO< =C J cY =rt o >? -=J2 sF$:i;g !?ob; DO d'3 d€ c oq-o ;qoo:t a 6' = @ f+iE:-=F c o+i;i43F g 3 o= 6:-e d B of,o-39m**eE.6 =oaEE dtf; t -=^6;:i-v! 9. -tr-qf E E 6€ie o *o +aif o I qs e7-e-y t.f =(o q ai: tli3 3Qd - aYfaodJ=.o o J oE3;d - O :iXoJ=Na* f i o- o-6J Q' _^ o Fo .F d +e-d-or &? a6E3 d o rQ /.h <Ylo 9o a J :o o'-Xt @ o>- o-E 5I @ 3+ o o5 o fei+*EE"A'' O tJ n 5Asil =i >? 6- Ea - d@ =' E.P€PJq=8 :H:siE{lei ee agli*sii :e"r ;E ei ;t ;l gi, 6*iHii:-3 *=a HqEtEge? o66 I l*=g+o y) ii !g - v,8 6' n E o F o tr{o t-{ o A. q-{ o 0t1 l-{ ao AEENE F ie E? H g .---g9 tE I -9-d.- I Et Fq gex*; qHEEE E f, F -b,,t I*E$€ b.fr c 3 5 .3 .c qr.d.l f e Ff; X E's I Bt3 E#s;aE n E:E uE DAPF{NIE ANID APON,LO In the warm Mediterrane:rn lands there grows a wild evergreen with 2rromatic leaves, known as the bay tree.
Recommended publications
  • Pindar's First Olympian
    PINDAR'S FIRST OLYMPIAN 1. In a summary discussion of Pindar's first O!Jmpian, D.C. Young (1968, 121-3) presents an analysis of the poem, the purpose of which is to demonstrate that its construction is strictly symmetrical. A nucleus of 12 lines (53-64: Tantalus honoured by the Gods, his misdeed and punishment, introduced and followed by a "transitional gnome") is preceded by a first Pelops myth (25-53) and followed by a second (65-94), each of about 28 lines. The poem begins and ends with passages of approximately 24 lines (1-24 and 95-118) dealing with the Olympic games, Hieron, his victory, and the poet's role as the recorder of victory. To make my point, there is no need to treat the question whether the lines 95-118 Inirror in every detail lines 1-24, as Young claims they do: "A : superlatives, a: vµ.vos ciµ.cfn/3a.AAEra,, B: general praise of Hieron, b: tlwpiav cf,opµ.,yya, C: (Hieron's) Olympic victory, c: Mµ.1m oe oi KAeos" opp. "c 1: TO 0£ KAeos oeoopKE, C1: Olympic victory (general), b1: Aio>..17to, µ.oMr~, B 1: general praise of Hieron, a 1: Mo'io-a Tpecf,u (3e>..os, A 1: superlatives (specific)." Apart from the details, it is undeni­ able (1) that both passages deal with the Games, the victory, the victor and the poet, and (2) that the poet uses Hieron's KAeos, which shines in the ci1ro,Kia of Pelops, to move from the opening passage to the first myth, and ends the second myth with the mention of Pelops' KAeos radiating (oeoopKE) from afar in Olympia.
    [Show full text]
  • Rusudan Tsanava (Tbilisi)
    Phasis 5-6, 2003 Rusudan Tsanava (Tbilisi) MARRYING A KING'S DAUGHTER Marrying a king‟s daughter and, subsequently, gaining the governing authori- ty within the kingdom is one of the ways of obtaining the superlative position. This model is so popular and distinguished that it often serves as a tradi- tional plot-story for various people‟s fairy-tales. Though, beyond the see- mingly romantic story we could notice a very "strict" ritual, which will be described below. Let‟s discuss different variations of the ancient Greek mythoritual model – "Obtaining a wife". It is a common knowledge that there are various myths and legends created on the ground of analogy with the "major", "initial" myth. In this way, a whole kaleidoscope of resembling stories is being gradually formed. And further, applying the methods of excluding and summarizing this variety is brought down to one restricted story, which could be conditionally called an archetype model, using the terminology of Jung. As we mentioned above, seeking hand in marriage and obtaining govern- ing authority in such myths are equivalent to each other. Marrying a king‟s daughter means capturing authority. Here we come to describing the central image-symbols of this mythoritual model: 1. The Father of a bride 2. A youth seeking hand in marriage. Both these symbols are related to capturing power. The former acknowl- edges that by letting his daughter get married he looses the throne, while the latter, on the contrary, having obtained the desired woman, seizes the throne. The Model of the Father Oenomaus reigned in Peloponesos, Pisa city in Elis.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • Apoikia in the Black Sea: the History of Heraclea Pontica, Sinope, and Tios in the Archaic and Classical Periods
    University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2018 Apoikia in the Black Sea: The History of Heraclea Pontica, Sinope, and Tios in the Archaic and Classical Periods Austin M. Wojkiewicz University of Central Florida Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the European History Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Wojkiewicz, Austin M., "Apoikia in the Black Sea: The History of Heraclea Pontica, Sinope, and Tios in the Archaic and Classical Periods" (2018). Honors Undergraduate Theses. 324. https://stars.library.ucf.edu/honorstheses/324 APOIKIA IN THE BLACK SEA: THE HISTORY OF HERACLEA PONTICA, SINOPE, AND TIOS IN THE ARCHAIC AND CLASSICAL PERIODS by AUSTIN M. WOJKIEWICZ A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in History in the College of Arts & Humanities and in The Burnett Honors College at the University of Central Florida Orlando, FL Spring Term, 2018 Thesis Chair: Edward Dandrow ABSTRACT This study examines the influence of local and dominant Network Systems on the socio- economic development of the southern Black Sea colonies: Heraclea Pontica, Sinope, and Tios during the Archaic and Classical Period. I argue that archeological and literary evidence indicate that local (populations such as the Mariandynoi, Syrians, Caucones, Paphlagonians, and Tibarenians) and dominant external (including: Miletus, Megara/Boeotia, Athens, and Persia) socio-economic Network systems developed and shaped these three colonies, and helped explain their role in the overarching Black Sea Network.
    [Show full text]
  • Stellar Symbols on Ancient Greek Coins (Ii)
    STELLAR SYMBOLS ON ANCIENT GREEK COINS (II) ELENI ROVITHIS-LIVANIOU1, FLORA ROVITHIS2 1Dept. of Astrophysics-Astronomy & Mechanics, Faculty of Physics, Athens University, Panepistimiopolis, Zografos 157 84, Athens, Greece 2Athens, Greece E-mail: [email protected]; [email protected] Abstract. Continuing the systematic presentation and description of some ancient Greek coins with stellar symbols we represent some with other deities, than these presented at Part I, together with semi-gods, etc. as well as those with animals and objects. Besides, information about the place they were found, the material they are made of as well as the estimated time is also given. Finally, in some cases the Museum in which they are kept is provided. Key words: Ancient Greek coins – ancient Greek cities – ancient Greek colonies – myths – stellar symbols. 1. PROLOGUE In a previous paper, (Rovithis-Livaniou & Rovithis 2011; hereafter refer as Paper I), a systematic presentation of ancient Greek coins with stellar symbols started. In that paper, the principles as well as the basic elements concerning the numismatic system of the ancient Greek cities-countries were also given. So, we do not repeat them here. In Paper I, we limited to the coins where the main gods/goddesses of the Greek Dodekatheon were presented on observe, combined with various themes on reverse, but always showing a stellar symbol on either side. Besides, in Paper I the god-Helios was included together with Apollo who took his place as god of the light. Furthermore, some coins with Dioskouroi were included in Paper I; but, as only those in which one of the main gods/goddesses was the basic subject, we shall complete their presentation here.
    [Show full text]
  • Aeschylusaeschylus
    AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]
  • Astronomy Handbook
    ASTRONOMY HANDBOOK 63 Table of Contents Section 1 – The Night Sky Purple Section 2 – The North Polar Sky Green Secton 3 – The Winter Sky Pink Section 4 – The Spring Sky Yellow Section 5 – The Summer Sky Blue Section 6 – The Autumn Sky Orange Section 7 – Other Information Red 64 Section 1 – The Night Sky Table of Contents Page Subject Myths & Legends included? 2 Teaching Astronomy - 4 A Little History - 6 The Universe & Milky Way Estonian 9 The Stars & Our Sun Greek, Native American, Scandinavian 16 The Planets Greek, Native American 25 The Moon Native American, Chinese 36 Asteroids, Comets, Meteoroids Native American 39 Greek & Roman Gods - 40 Constellations: An Intro Native American 65 Teaching Astronomy Most schools that come to TOS like to take astronomy. It’s a great opportunity for the kids to sit quietly, look at stars and planets that they may not be able to see in a town or city, and listen to myths and legends about the night sky. This information offers a good foundation to astronomy. Please read it and absorb as much as you can before you arrive. During training we will concentrate on learning constellations and the stories associated with them. Astronomy lasts an hour-and-a-half. We will usually start off with a few games (which we will also show you during training) to burn off some of the kids’ energy, and to wait for it to get dark. Once the stars come out, you will gather your team and find somewhere around camp to look at the night sky.
    [Show full text]
  • The Myth of the Amazons Maria Balla
    The myth of the Amazons Maria Balla SCHOOL OF HUMANITIES A thesis submitted for the degree of Master of Arts (MA) in Black Sea cultural Studies February 2017 Thessaloniki – Greece Student Name: Maria Balla SID: 2201140004 Supervisor: Prof. Manolis Manoledakis I hereby declare that the work submitted is mine and that where I have made use of another’s work, I have attributed the source(s) according to the Regulations set in the Student’s Handbook. 02/2017 Thessaloniki - Greece ABSTRACT This dissertation was written as part of the MA in Black Sea cultural Studies at the In- ternational Hellenic University. The aim of this paper is to analyze the different varia- tions and the most predominant versions of the myth of the Amazons and to present the basic mythological references of these wild warriors. Additionally, the individual mythological facts are described and the most famous figures of the Amazons are high- lighted. The individual characteristics that are presented bring into negotiation the dif- ferent aspects concerning the social, cultural and historical dimensions of the myth. This paper searches the reasons why this myth was created and why it became part of the Greek mythology and determines the value of the myth in general. It also presents clearly both the mythological status of the Amazons based on literary sources and the particular features of their existence in a wider context. On a second level, the figure of the Amazons is approached as a social and political phenomenon of the classical pe- riod and especially of the Athenian society. It examines the contribution of the social stereotypes of the era to the formation of the myth and the relationship with the xen- ophobic climate against the Persians.
    [Show full text]
  • Agon – Preliminary Round 1
    Yale Certamen 2020 Written by Kyle Jain, Dante Minutillo, Gabe Molina, Nikhil Ranjan, Henry Schott, and Matt Thomas. Edited by Dante Minutillo, Nikhil Ranjan, and Matt Thomas. Agon – Preliminary Round 1 1. What student of Isaeus famously placed pebbles in his mouth to help him overcome his speech impediment and become the greatest Athenian orator? DEMOSTHENES B1: What series of speeches did Demosthenes deliver against the father of Alexander the Great? PHILIPPICS B2: What other Attic orator was so careful with his style that he is said to have spent 10 years writing his Panegyricus, a speech glorifying Greek culture and encouraging the Greeks to unite against Persia? ISOCRATES 2. Translate from English into the best Attic Greek: “She brings a beautiful victory.” καλὴν νίκην φέρει. B1: Make that sentence plural, so that it means “They bring beautiful victories.” καλὰς νίκας φέρουσι(ν). B2: Now translate this sentence into the best Attic Greek: “There was victory in the battle.” νίκη ἦν ἐν τῇ μάχῃ. 3. Which of the following five mythological characters did not complete a trip to and from the Underworld: Odysseus, Psyche, Aeneas, Jason, Orpheus? JASON B1: Though not the Underworld, from what dangerous kingdom along the Black Sea did Jason escape? COLCHIS B2: Which of the other figures from the toss-up does Aeneas spot while in the Underworld? ORPHEUS 4. Differentiate in meaning between the Greek adjectives μακρός and μικρός. BIG/GREAT and SMALL (RESPECTIVELY) B1: Now differentiate in meaning between the Greek nouns δίκη and τιμή. JUSTICE and HONOR (RESPECTIVELY) B2: Give an antonym of the Greek word θάνατος.
    [Show full text]
  • 2019 Njcl Certamen Advanced Division Round One
    2019 NJCL CERTAMEN ADVANCED DIVISION ROUND ONE 1. What Roman king secured a reliable supply of salt for Rome by founding Ostia on the Tyrrhenian coast? ANCUS MARCIUS B1: What wooden bridge was built during Ancus’ reign to facilitate travel to Ostia? PONS SUBLICIUS B2: What group of priests, charged with declaring war, did Ancus found? FĒTIĀLĒS 2. Translate into English: “īra fūror brevis est.” ANGER IS A BRIEF (TEMPORARY) MADNESS (RAGE) // THERE IS A BRIEF RAGE IN / BECAUSE OF ANGER // IRE IS A BRIEF FUROR B1: Translate this other quotation from Horace: “exēgī monumentum aere perennius.” I HAVE BUILT A MONUMENT MORE LASTING THAN BRONZE B2: Translate this quotation from Horace: “nīl mortālibus arduī est.” NOTHING IS DIFFICULT FOR MORTALS 3. What Latin poet of the first century B.C. was rumored to have been driven to insanity by a love potion but is more well known for rendering the Peri Physeos of Epicurus into a six-book Latin epic poem, Dē Rērum Nātūrā? (T.) LUCRETIUS (CARUS) B1: To whom was Lucretius’s Dē Rērum Nātūrā addressed? (C.) MEMMIUS B2: According to Roman tradition, which later Latin author assumed the toga virīlis in 55 B.C., the same year that Lucretius died? (P.) VERGIL(IUS) (MARO) 4. Respondē aut Anglicē aut Latīnē: quī prīnceps futūrus dormīvit per mūsicam Nerōnis et erat pater duōrum imperātōrum aliōrum? (T. FLAVIUS) VESPASIANUS / VESPASIAN B1: Respondē aut Anglicē aut Latine: quō Nerō Vespasiānum mīsit?(AD) JUDAEAM / TO JUDAEA B2: Respondē aut Anglicē aut Latīnē: quae erant nōmina fīliōrum Vespasiānī quī ambō imperātōrēs factī sunt? TITUS (FLAVIUS VESPASIANUS) ET DOMITIANUS / TITUS & DOMITIAN 5.
    [Show full text]
  • Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport
    Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport Science Athens, GREECE [email protected] In an era where man’s moral standards are tested by material social trends, the phenomenon of violence proliferates to an irrepressible degree imposing catastrophic results in many areas of society. Violence is not excluded even from competitive athletics, the very expression of a healthy life. However the aim of this study is not to go along with or adopt these examples but underline the significance of these forms of violence in Ancient Greek athletic games. The research will be restricted to a selection of particularly provocative examples of violence in sport but all these forms of athletics which are generated from instinct taken in context seem legitimate. A certain creativity can be discerned on assessment of the facts based on the mark they have left on history. Reference will not be made to biological reasons or sociological problems that have a direct relationship to violence; neither shall inclusion or explanation be made about violence as part of the instinctive “laws of conflict”1. The word violence is found in Ancient Greek writing and its meanings are varied. Homer uses violence to mean courage, strength, power, the might of domination2, the taking of human life3 and psychological violence4. He refers to physical bodily violence, physical assault, violent behavior, extortion coercion and force5. Hesiod distinguishes two types of violence, which are conflicting: Hateful6, which is represented by war, and Peaceful7, which is expressed by creativity in society. As time passed violence was personified8 or was expressed as potential violence9; whereas in Attic law we come across it interpreted as usurpation10.
    [Show full text]