APOLLONIUS and CALLIMACHUS on HERACLES and THEIODAMAS: a METAPOETICAL INTERPRETATION* Mark Heerink
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Lara O'sullivan, Fighting with the Gods
The Ancient History Bulletin VOLUME TWENTY-EIGHT: 2014 NUMBERS 3-4 Edited by: Edward Anson ò David Hollander ò Timothy Howe Joseph Roisman ò John Vanderspoel ò Pat Wheatley ò Sabine Müller ISSN 0835-3638 ANCIENT HISTORY BULLETIN Volume 28 (2014) Numbers 3-4 Edited by: Edward Anson, David Hollander, Sabine Müller, Joseph Roisman, John Vanderspoel, Pat Wheatley Senior Editor: Timothy Howe Editorial correspondents Elizabeth Baynham, Hugh Bowden, Franca Landucci Gattinoni, Alexander Meeus, Kurt Raaflaub, P.J. Rhodes, Robert Rollinger, Victor Alonso Troncoso Contents of volume twenty-eight Numbers 3-4 82 Lara O’Sullivan, Fighting with the Gods: Divine Narratives and the Siege of Rhodes 99 Michael Champion, The Siege of Rhodes and the Ethics of War 112 Alexander K. Nefedkin, Once More on the Origin of Scythed Chariot 119 David Lunt, The Thrill of Victory and the Avoidance of Defeat: Alexander as a Sponsor of Athletic Contests NOTES TO CONTRIBUTORS AND SUBSCRIBERS The Ancient History Bulletin was founded in 1987 by Waldemar Heckel, Brian Lavelle, and John Vanderspoel. The board of editorial correspondents consists of Elizabeth Baynham (University of Newcastle), Hugh Bowden (Kings College, London), Franca Landucci Gattinoni (Università Cattolica, Milan), Alexander Meeus (University of Leuven), Kurt Raaflaub (Brown University), P.J. Rhodes (Durham University), Robert Rollinger (Universität Innsbruck), Victor Alonso Troncoso (Universidade da Coruña) AHB is currently edited by: Timothy Howe (Senior Editor: [email protected]), Edward Anson, David Hollander, Sabine Müller, Joseph Roisman, John Vanderspoel and Pat Wheatley. AHB promotes scholarly discussion in Ancient History and ancillary fields (such as epigraphy, papyrology, and numismatics) by publishing articles and notes on any aspect of the ancient world from the Near East to Late Antiquity. -
Georgetown Day.Pdf
Round 2 JCV7 Tossups by Georgetown Day School 1. The painting that most attracted public attention at it was renamed by one critic "explosion in a shingle factory". Among the organizers and contributors were Arthur Davies, John Sloan and Walt Kuhn. At this show, Americans got their first look at the revolutionary work of such artists as Matisse, Kandinsky, Brancusi, and Picasso. For ten points, name this exhibition, featuring the aforementioned Nude Descending a Staircase, held in 1913 in a New York City military installation. Answer: The Armory Show 2. Walt Duncan, an Orthodontist, Connie, his wife, and their perpetually sloppy 15-year old, Jeremy live in a white clapboard house that is occasionally home to Jeremy's love interest Sara Toomy, best friend, Hector, and a rock band named Goat Cheese Pizza. Jeremy's older brother Chad is the perfect student, away at college. For ten points, name this Best Comic Strip of the Year for 1999, syndicated in over 900 newspapers and authored by Jerry Scott and Jim Borgman. Answer: Zits 3. Subtle, a clever quack, and his whorish colleague, Doll Common, set up shop in the house of Lovewit while the latter is away. With the help of Lovewit's servant, Face, they succeed in tricking a whole series of gullible scoundrels, such as Abel Drugger, who seeks charms and advice on how to set up his tobacco shop for maximum good fortune. For ten points, name this 1610 comedy by Ben Jonson, a satirical look at the medical profession of 1i h century England. Answer: The Alchemist 4. -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
Between Arcadia and Crete: Callisto in Callimachus' Hymn to Zeus The
Between Arcadia and Crete: Callisto in Callimachus’ Hymn to Zeus The speaker of Callimachus’ Hymn to Zeus famously asks Zeus himself whether he should celebrate the god as “Dictaean,” i.e. born on Mt. Dicte in Crete, or “Lycaean,” born on Arcadian Mt. Lycaeus (4-7). When the response comes, “Κρῆτες ἀεὶ ψεῦσται” (“Cretans are always liars,” 8), the hymnist agrees, and for support recalls that the Cretans built a tomb for Zeus, who is immortal (8-9). In so dismissing Cretan claims to truth, the hymnist justifies an Arcadian setting for his ensuing birth narrative (10-41). Curiously, however, after recounting Zeus’s birth and bath, the hymnist suddenly locates the remainder of the god’s early life in Crete after all (42-54). The transition is surprising, not only because it runs counter to the previous rejection of Cretan claims, but also because the Arcadians themselves held that Zeus was both born and raised in Arcadia (Paus. 8.38.2). While scholars have focused on how the ambiguity of two place names (κευθμὸν... Κρηταῖον, 34; Θενάς/Θεναί, 42, 43) misleads the audience and/or prepares them for the abrupt move from Arcadia to Crete (Griffiths 1970 32-33; Arnott 1976 13-18; McLennan 1977 66, 74- 75; Tandy 1979 105, 115-118; Hopkinson 1988 126-127), this paper proposes that the final word of the birth narrative, ἄρκτοιο (“bear,” 41), plays an important role in the transition as well. This reference to Callisto a) allusively justifies the departure from Arcadia, by suggesting that the Arcadians are liars not unlike the Cretans; b) prepares for the hymnist’s rejection of the Cretan account of Helice; and c) initiates a series of heavenly ascents that binds the Arcadian and Cretan portions of the hymn and culminates climactically with Zeus’s own accession to the sky. -
A Story of Five Amazons Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. -
Durham Research Online
Durham Research Online Deposited in DRO: 17 February 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Petrovic, Ivana (2006) 'Delusions of grandeur : Homer, Zeus and the Telchines in Callimachus Reply (Aitia Fr. 1) and Iambus 6.', Antike und Abendland., 52 . pp. 16-41. Further information on publisher's website: http://www.degruyter.com/view/j/anti.2006.52.issue- 1/9783110186345.16/9783110186345.16.xml?format=INT Publisher's copyright statement: The nal publication is available at www.degruyter.com Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk L IJ lVANA PETROVIC Delusions of Grandeur: Homer, Zeus and the Telchines in Callimachus' Reply (Aitia Fr. 1) and Iambus 6'' The visual representations of Homer were often modelled upon those of Zeus. Fur thermore, not only in the visual arts, but in poetry as well Homer was often in one way or another brought in connection with Zeus. -
THE FINAL LINE in CALLIMACHUS' HYMN to APOLLO Giuseppe Gian Grande
http://dx.doi.org/10.12795/Habis.1992.i23.05 THE FINAL LINE IN CALLIMACHUS' HYMN TO APOLLO Giuseppe Gian grande King' s College, London Un examen del verso final del Himno a Apolo de Calímaco dentro del marco de las teorías poéticas calimaqueas lleva a la conclusión de que la lectura OBóvos- es genuina, mientras que la variante .950ópoç es una trivialización. An analysis of the final une of Callimachus Hymn to Apollo, conducted within the framework of the poet' s literary theories, shows that the reading 006- voç is genuine, whereas the variant 006pos- is a trivialization. The final une in Callimachus' Hymn to Apollo has been the subject of copious debate during the last centuries. Fortunately for us, most of the relevant material has been assembled by F. Williams, in his doctoral dissertation which was directed by me at my Classics Research Centre, University of London, so that I can now conveniently refer the readers to the monograph in question 1 • As is well known, the problem consists in choosing between the variants 00óvos- or 00ópoç in fine 113. The editiones veteres, as Ernesti noted in his commentary ad loc. 2, read xaí'pe cYval'. 6 8é- .1114.1os-, 1'v '6 00óvos-, gvOci ué-otTO 1 F. Williams, Callimachus' Hymn to Apollo (Oxford 1978) 96 ff. 2 Jo. Aug. Emesti, Callimachi Hymni, Epigrammata el Fragmenta I (Lugduni Batavorum 1761) 65. 53 HABIS 23 (1992) 53-62 THE FINAL LINE IN CALLIMACHUS' HYMN TO APOLLO but the variant ~vos- was rejected by Emesti, who judged 00ópos- to be the cor- rect one. -
The Quest for the Golden Fleece: on Translating Apollonius Rhodius' Argonautica
Przekładaniec. A Journal of Literary Translation Special Issue (2013): 56–70 doi:10.4467/16891864ePC.13.037.1454 EMILIA ŻYBERT-PRUCHNICKA THE QUEST FOR THE GOLDEN FLEECE: ON TRANSLATING APOLLONIUS RHODIUS’ ARGONAUTICA Abstract: Before recently, there was no full Polish translation of Apollonius Rhodius’ Argonautica. However, fi ve Polish classical scholars, W. Klinger, Z. Abramowiczówna, J. Łanowski, W. Steffen and W. Appel, have translated excerpts of this Hellenistic epic into Polish. A comparative analysis of these excerpts with the relevant passages from the fi rst complete Polish version of the Argonautica by E. Żybert-Pruchnicka makes it possible to trace the individual strategies of the translators. The most important decision which every translator of epic poetry has to take at the beginning of his or her work is to choose the form in which the poem will be rendered. In Polish there are three main traditions of translating epics: in thirteen-syllable meter, in prose, and in hexameter. The last type of versifi cation was chosen by fi ve out of six of the translators mentioned above; only Świderkówna decided to render the Apollonian poem in thirteen-syllable verse. There are also stylistic and language differences that occur in the passages, due to the individual preferences of the translators, as well as the writing style characteristic for the times in which they lived. Klinger, for instance, prefers modernist stylistics, while Steffen chooses to archaise the language of the poem. However, the aim of this article is not to evaluate the translations but to open a discussion on how poems written over two thousand years ago might be rendered in an adequate and contemporary fashion. -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con ception of the Amazons in the archaic period comes from visual rep resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor. -
Hellenistic Poetry Before Callimachus an Enquiry Into Two Lost Generations University of Liverpool, 14-15 June 2016
Hellenistic Poetry Before Callimachus An Enquiry Into Two Lost Generations University of Liverpool, 14-15 June 2016 Ewen Bowie (Oxford) Pauline LeVen (Yale) School of the Arts Library Benjamin Cartlidge (Oxford) Enrico Magnelli (Florence) 19 Abercromby Square Martine Cuypers (TCD) Thomas Nelson (Cambridge) Marco Fantuzzi (Macerata) Maria Noussia (Thessaloniki) L69 7ZG Liverpool Lucia Floridi (Milan) S. Douglas Olson (Freiburg) Marco Perale Annette Harder (Groningen) Peter Parsons (Oxford) [email protected] Richard Hunter (Cambridge) Marco Perale (Liverpool) Guendalina Taietti Gregory Hutchinson (Oxford) K. Spanoudakis (Rethymno) [email protected] Jan Kwapisz (Warsaw) Guenda Taietti (Liverpool) Jan Kwapisz Rebecca Lämmle (Basel) Agnieszka Toma (Wrocław) [email protected] Hellenistic Poetry before Callimachus An international conference at the University of Liverpool 14-15 June 2016 You who walk past my tomb, know that I am son and father of Callimachus of Cyrene. You must know both: the one led his country’s forces once, the other sang beyond the reach of envy. Callimachus, Epigram 21 Pf., tr. F.J. Nisetich Callimachus’ epitaph for the tomb of his father is notorious for how perplexingly little it says about the deceased. We are told neither his name nor profession, whereas the name that resounds loud and clear is that of the author of the epigram. This is a measure of how Callimachus outshone his father. The Greeks may have found delight in being defeated by their children (cf. Pl. Mx. 247a), yet we are less impressed. Even for the sake of Callimachus himself, would it not be rewarding to know who his father was? The epigram illustrates the broader problem we have with the poet’s closest literary ancestors.