DOCSLIB.ORG

On the Air: an Intersemiotic Translation of Ovid's Heroides

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the Air: an Intersemiotic Translation of Ovid's Heroides On the Air: An Intersemiotic Translation of Ovid's Heroides Item Type text; Electronic Thesis Authors Larres, Elise Citation Larres, Elise. (2021). On the Air: An Intersemiotic Translation of Ovid's Heroides (Master's thesis, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 15:20:38 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660168 ON THE AIR: AN INTERSEMIOTIC TRANSLATION OF OVID’S HEROIDES by Elise Larres _____________ Copyright © Elise Larres 2021 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN CLASSICS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Committee, we certify that we have read the thesis prepared by Elise Larres, titled Heroides and recommend that it be accepted as fulfilling the dissertation requirement for the . _________________________________________________________________ Date: ____________ David Christenson _________________________________________________________________ Date: ____________ Robert Groves _________________________________________________________________ Date: ____________ Sarah McCallum Final approval and acceptance of this thesis final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the requirement. _________________________________________________________________ Date: ____________ David Christenson Committee Chair Department of Religious Studies and Classics ACKNOWLEDGEMENTS First and foremost, I would like to thank Drs. David Christenson, Robert Groves, and Sarah McCallum for serving on my thesis committee, for giving me the excellent advice and instruction I needed before embarking on this project, and for helping me bring it to fruition. Special thanks to Monica Barcarolo, Mallory Main, and Ian Morgan for listening to my half-baked lyrics and off- key first drafts, and to Mallory in particular for kindly testing out one of those drafts in their classroom. Finally, I would like to thank my family: my parents, David and Terese, for gifting me with their love of music; my brother, Justin, whose encouragement and thoughtful suggestions inspired me to combine my passion for both language and music; and my sister, Lauren, for her unfailing patience and for listening during the hard times. Without their constant love, support, and gentle critiques, this project would not have been possible. Larres – 3 TABLE OF CONTENTS ABSTRACT ..........................................................................................................................5 INTRODUCTION: SINGING THE HEROIDES .............................................................6 The Skopos .......................................................................................................................6 The Translation Process .................................................................................................8 The Wind as an Interpretative Lens .............................................................................11 Helpful Notes for Using this Document .........................................................................14 The Wind – “Intro” Lyrics .............................................................................................16 CHAPTER 1: ARIADNE – “BLACK MARK” ................................................................18 Translator’s Statement ...................................................................................................18 Audio and Lyrics .............................................................................................................22 Commentary ....................................................................................................................26 CHAPTER 2: CANACE – “THE SICKNESS OF A CHILD” ........................................47 Translator’s Statement ...................................................................................................47 Audio and Lyrics .............................................................................................................56 Commentary ....................................................................................................................62 CHAPTER 3: PENELOPE – “MARCO”..........................................................................84 Translator’s Statement ...................................................................................................84 Audio and Lyrics .............................................................................................................90 Commentary ....................................................................................................................95 CONCLUSION: THE FUTURE OF THE PROJECT.....................................................115 WORKS CITED...................................................................................................................116 Larres – 4 ABSTRACT In this thesis project I translate three of Ovid’s Heroides, namely Ep. 1 (Penelope to Ulysses), 10 (Ariadne to Theseus), and 11 (Canace to Macareus), into musical pieces involving both lyrics and instrumentation. I have also composed an original piece to introduce the album and to help identify the Wind as the programmatic element and metapoetic lens through which my translation is heard. In my Introduction I establish the goals of this translation and the process by which I achieved them, including a discussion of the Wind as representative of electronic communication and the impact this interpretation has on the heroines’ narratives. Each chapter covers a single song- translation and includes (A) a translator’s statement which both clarifies key aspects of the Latin poem being translated and explains my broad focus and methodology for translating that particular song; (B) the audio file and lyrics; and (C) a commentary examining features of the Latin as well as highlighting the specific translation choices I have made and my reasoning for these. This project provides a case study of musical translation as reception of classical texts, as well as a valuable pedagogical tool for students of classics and Latin at all skill levels. Finally, my work here forms the foundation of a future concept album designed to appeal to a wide audience, including those with no knowledge of Ovid, Latin, or Roman culture. This album will serve as an effective way of attracting a new and diverse group of people to classics, and whose experiences and perspectives will enrich the field moving forward. Larres – 5 INTRODUCTION: SINGING THE HEROIDES The Skopos The goal or “skopos” 1 of this thesis project is to produce a modern concept album which functions as a translation of, and commentary on, Ovid’s Heroides. With this translation I aim to reach a broad, multifaceted audience ranging from those having no knowledge of the source text to others deeply conversant in Ovid’s poetry and the culture in which it was created. The musical format I have chosen is inherently accessible, and in its every aspect I seek to craft a polished song that is enjoyable to listen to and whose aesthetic value does not hinge on its status as a translation. Nevertheless, much like Ovid’s poetry, my song-translations are vastly enriched by a close familiarity with the source texts. In other words, a person who has never heard of Ovid can still appreciate these songs in their own right, but the the listener who is more acquainted with his Heroides and with Roman poetic practices is likely to enjoy and appreciate some aspects of my music all the more. While I have taken pains to ensure that these songs are melodic and pleasant to listen to, I have not viewed this as license to avoid rigorous engagement with the words, poetry, themes, characterizations, and approaches of my source text—a commitment which makes my song- translations excellent tools for the classroom. Either the album as a whole or the individual songs may be used to introduce or reinforce a number of exciting topics, including the Latin translation project, 2 aemulatio as a Roman cultural concept, creative translation as a class activity, and 1 I follow the theory of Hans Vermeer, who argues that, insofar as translation is an action, every translation has a goal or purpose, identified as the “skopos” of that translation (1989: 191–2). Translations are oriented toward the culture of the target text rather than that of the source text, and this ultimately defines their adequacy. Each individual translation will accordingly have a unique approach and method based on its skopos and intended audience (193, 196–7). 2 See further Feeney 2016. Larres – 6 intersemiotic translation, to name just a few. My songs may be used among students unfamiliar with Latin to spark discussion about Roman culture and literary values, as well as by students with any level of Latin knowledge, whether just beginning or advanced in the language. More advanced students will reap slightly different
Load more

Recommended publications
  • Ovid's Metamorphoses and the Transformation of Metamorphosis In
    Ovid’s Metamorphoses and the transformation of metamorphosis in Christoph Ransmayr’s novel Die letzte Welt David Gallagher Department of German University of London, Royal Holloway October 2007 Working Paper 07-2 Center for Austrian Studies The Center for Austrian Studies serves scholars who study the politics, society, technology, economy, and culture of Habsburg Central Europe, modern Austria, and other Habsburg successor states. It encourages comparative studies involving Austria or the Habsburg lands and other European states. The CAS Working Papers in Austrian Studies series seeks to stimulate discussion in the field and to provide a vehicle for circulating work in progress. It is open to all papers prior to final publication, but gives priority to papers by affiliates of the Center or by scholars who have given seminars or attended conferences at the Center. The executive editor of the series is Gary B. Cohen. This paper was edited by Josh Kortbein. If you would like to have a paper considered for inclusion in the series, please contact the editor at: Center for Austrian Studies 314 Social Sciences Building 267 19th Avenue South Minneapolis, MN 55455 Tel.: 612-624-9811 Fax: 612-626-9004 e-mail: [email protected] ©2007, Center for Austrian Studies, University of Minnesota. Permission to reproduce must generally be obtained from CAS. Copying is permitted within the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of Working Papers on reserve for students enrolled in specific courses; teachers may reproduce multiple copies for students in their courses.
    [Show full text]
  • The Hellenic Saga Gaia (Earth)
    The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10.
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • Representing Roman Female Suicide. Phd Thesis
    GUILT, REDEMPTION AND RECEPTION: REPRESENTING ROMAN FEMALE SUICIDE ELEANOR RUTH GLENDINNING, BA (Hons) MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis examines representations of Roman female suicide in a variety of genres and periods from the history and poetry of the Augustan age (especially Livy, Ovid, Horace, Propertius and Vergil), through the drama and history of the early Principate (particularly Seneca and Tacitus), to some of the Church fathers (Tertullian, Jerome and Augustine) and martyr acts of Late Antiquity. The thesis explores how the highly ambiguous and provocative act of female suicide was developed, adapted and reformulated in historical, poetic, dramatic and political narratives. The writers of antiquity continually appropriated this controversial motif in order to comment on and evoke debates about issues relating to the moral, social and political concerns of their day: the ethics of a voluntary death, attitudes towards female sexuality, the uses and abuses of power, and traditionally expected female behaviour. In different literary contexts, and in different periods of Roman history, writers and thinkers engaged in this same intellectual exercise by utilising the suicidal female figure in their works. ii Acknowledgments I would like to thank the Arts and Humanities Research Council for providing the financial assistance necessary for me to carry out this research. The Roman Society also awarded a bursary that allowed me to undertake research at the Fondation Hardt pour I'etude de I'antiquite classique, in Geneva, Switzerland (June 2009). I am also grateful for the CAS Gender Histories bursary award which aided me while making revisions to the original thesis.
    [Show full text]
  • Pausanias' Description of Greece
    BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.
    [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]
  • 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]
  • What Is Greek About Greek Mythology?
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive.
    [Show full text]
  • A Dictionary of Mythology —
    Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.
    [Show full text]
  • 2015 TSJCL Advanced Finals, Page 1 2015 TSJCL Certamen Advanced
    2015 TSJCL Certamen Advanced Division, Final Round TU # 1: Who committed suicide after committing incest with her brother Macareus? CANACE B1: How did Macareus die? SUICIDE B2: Who was their father? AEOLUS TU # 2: Who, other than Vergil, wrote an Augustan Age epic poem that told stories about Aeneas? OVID B1: What king of Delos does Ovid say welcomed the Trojan refugees and told them about special gifts that Bacchus had given to his daughters? ANIUS B2: In Ovid's Metamorphoses, when telling the story of Aeneas and the Sibyl of Cumae, how old does the Sibyl tell Aeneas that she is? 700 TU # 3: Define the Latin noun grand, grandinis. HAIL B1: Name a Latin noun that means 'rain'. IMBER, INFUSIO, PLUOR, PLUVIA, RUINA B2: Give a meteorological definition for the noun arcus. RAINBOW TU # 4: Give the unsyncopated form of the Latin verb portst. PORTVIST B1: What is the standard prose form of the Latin poetic noun form deum? DERUM B2: What is the standard prose form of the Latin poetic verb form amre? AMRIS TU # 5: Listen carefully to the following Latin passage, which I will read twice. Then answer in English the question that follows: "Athninss Tmotheum rogvrunt ut ille fieret dux et bellum hostibus inferret. In hc vir tanta erat auctrits ut magna esset sps victriae. Cum Tmotheus et mlits ad nsulam Samum appropinquarent, magna tempests orta est. Complribus amisss nvibus, Tmotheus sine victri ex nsul discessit et Athns rediit. Tmotheus accusbtur prditinis et in exsilium coactus est." (repeat) Question: Why did Timotheus leave Samos without a
    [Show full text]
  • The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
    The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
    [Show full text]
  • 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]