Let's Think About This Reasonably: the Conflict of Passion and Reason
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Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and the Return of the King
Volume 18 Number 2 Article 1 Spring 4-15-1992 Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King David Greenman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Greenman, David (1992) "Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 18 : No. 2 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol18/iss2/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees classical influence in the quest patterns of olkienT ’s heroes. Tuor fits the pattern of Aeneas (the Escape Quest) and the hobbits in Return of the King follow that of Odysseus (the Return Quest). -
The Eternal Fire of Vesta
2016 Ian McElroy All Rights Reserved THE ETERNAL FIRE OF VESTA Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy A thesis submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Classics Written under the direction of Dr. Serena Connolly And approved by ___________________________________________ ___________________________________________ ___________________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE THESIS The Eternal Fire of Vesta: Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy Thesis Director: Dr. Serena Connolly Vesta and the Vestal Virgins represented the very core of Roman cultural identity, and Augustus positioned his public image beside them to augment his political legitimacy. Through analysis of material culture, historiography, and poetry that originated during the principate of Augustus, it becomes clear that each of these sources of evidence contributes to the public image projected by the leader whom Ronald Syme considered to be the first Roman emperor. The Ara Pacis Augustae and the Res Gestae Divi Augustae embody the legacy the Emperor wished to establish, and each of these cultural works contain significant references to the Vestal Virgins. The study of history Livy undertook also emphasized the pathetic plight of Rhea Silvia as she was compelled to become a Vestal. Livy and his contemporary Dionysius of Halicarnassus explored the foundation of the Vestal Order and each writer had his own explanation about how Numa founded it. The Roman poets Virgil, Horace, Ovid, and Tibullus incorporated Vesta and the Vestals into their work in a way that offers further proof of the way Augustus insinuated himself into the fabric of Roman cultural identity by associating his public image with these honored priestesses. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
Latin: Figures of Speech & Rhetorical Devices
LATIN: FIGURES OF SPEECH & RHETORICAL DEVICES ALLITERATION (L., toward the same letters) Repetition of the same sound, usually initial, in two or more words. This term normally applies to consonants and accented initial vowel (magno cum murmure montis, Aeneid 1.55). ANAPHORA (Gk., carrying back) Repetition of a word, usually at the beginning of successive clauses or phrases, for emphasis or for pathetic effect. This figure is often accompanied by asyndeton and ellipsis (hic illius arma, hic currus fuit; hoc regnum..., Aeneid 1.16-17; ubi...ubi...ubi, Aeneid 1.99-100). APOSIOPESIS (Gk., becoming silent) An abrupt failure to complete a sentence, for rhetorical effect (Quos ego - , Aeneid 1.135). APOSTROPHE (Gk., turning away) Address of an absent person or an abstraction, usually for pathetic effect (o terque quaterque beati, Aeneid 1.94). ASSONANCE (L., answer with the same sound) The close recurrence of similar sounds, usually used of vowel sounds (amissos longo socios sermone requirunt, Aeneid 1.217). ASYNDETON (Gk., not bound together) Omission of conjunctions in a closely related series (don’t confuse with anaphora). CHIASMUS (Gk., marking with diagonal lines like a X) Arrangement of pairs of words in opposite order ABBA ELLIPSE (Gk., leaving out) Is the suppression of a word or of several words of minor importance the logical expression of the thought, but necessary to the construction. It allows for brevity, force and liveliness and often unconsciously supplied. ENJAMBMENT (Fr., the act of straddling) The running over of a sentence from one verse or couplet into another so that closely related words fall in different lines (ac veluti magno in populo cum saepe coorta est seditio, Aeneid 1.148-49). -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Vergil's Aeneid: a Homeric Dichotomy?
Anthós (1990-1996) Volume 1 Number 1 Article 3 1990 Vergil's Aeneid: A Homeric Dichotomy? David Dysert Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Ancient History, Greek and Roman through Late Antiquity Commons Let us know how access to this document benefits ou.y Recommended Citation Dysert, David (1990) "Vergil's Aeneid: A Homeric Dichotomy?," Anthós (1990-1996): Vol. 1 : No. 1 , Article 3. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss1/3 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Vergil~s Aeneid: A Homeric Dichotomy? Twinkle, twinkle little star. How I wonder what you are. !l1ttl1f1rt Ah VollS Dirai-je lIdaman, K.265, is a timeless' series of variations on the children's classic "Twinkle, Twinkle Little Star," a pervasive melody in Western culture. Mozart brilliantly manipulates the previous work creating an entirely different musical statement while retaining elements of the original throughout. Beginning with a nearly exact copy of the original, the composer moves to a somewhat melancholy tone and then concludes with a race to the finish. The listener is delighted by Mozart's use of the common melody. Vergil's contemporaries were probably equally, if not more, delighted with his work, the Aeneid. Vergil, like Mozart, (or should we say Mozart, like Vergil!) . -
Dates:$$70!–!19!BC! ! Home:$$$Vergil!
AUTHOR$SHEET:$$VERGIL$ ! Dates:$$70!–!19!BC! ! Home:$$$Vergil!is!said!to!have!been!born!on!October!15,!70!BC!in!a!village!near!Mantua.! ! ! ! $ $ $ $ $ $ $ $ $ $ $ $ $ Surviving$Works:$ $ Bucolics)(also!called,!Eclogues)—ten!brief!poems!in!hexameters$ Georgics—a!didactic!poem!in!four!booKs!of!hexameters! Aeneid—an!epic!poem!in!twelve!booKs! $ $ An$Introduction$to$the$Aeneid:$ $ 8Vergil!composed!the!Aeneid)between!29!and!19!BC,!but!died!before!the!worK!was!entirely! finished.!!What!remains!to!us!is!roughly!10,000!lines!of!dactylic!hexameter.! 8The!epic!tells!the!legendary!story!of!Aeneas,!a!Trojan!who!travelled!to!Italy,!where!he!became! the!ancestor!of!the!Romans.!! 8The!first!six!of!the!poem’s!twelve!booKs!tell!the!story!of!Aeneas’!wanderings!from!Troy!to!Italy! (modeled!after!Homer’s!Odyssey),!and!the!poem’s!second!half!tells!of!the!Trojans’!ultimately! victorious!war!upon!the!Latins!(modeled!after!Homer’s!Iliad).! 8The!hero!Aeneas!was!already!Known!in!Greco8Roman!legend!and!myth!as!a!character!in!the! Iliad;!Vergil!tooK!the!disconnected!tales!of!Aeneas’!wanderings,!and!authored!a!compelling! founding!myth!or!nationalist!epic!that!both!tied!Rome!to!the!legends!of!Troy,!glorified! traditional!Roman!virtues!and!represented!the!Julio8Claudian!dynasty!as!descendants!of!the! founders,!heroes!and!gods!of!Rome!and!Troy.! ! ! Main$Sources:!!! Conte,!Gian!Biagio.!!Latin)Literature:)A)History.!!Baltimore:!Johns!HopKins!University!Press,!1994.!! Hornblower,!Simon,!and!Antony!Spawforth.!!The)Oxford)Classical)Dictionary.!!New!YorK:!Oxford!University!Press,!1996.!! Kenney,!E.!J.,!and!W.!V.!Clausen.))The)Cambridge)History)of)Classical)Literature.))Vol.)2)Latin)Literature.))Part)3,)The)Age)of) Augustus.!!New!YorK:!Cambridge!University!Press,!1983.!! Martindale,!Charles.!!The)Cambridge)Companion)to)Virgil.!!New!YorK:!Cambridge!University!Press,!1997.!! . -
The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle. -
Basic Guide to Latin Meter and Scansion
APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg. -
The Dunciad and the City: Pope and Heterotopia
Georgia State University ScholarWorks @ Georgia State University English Department Publication - Studies in the English Department Publications Literary Imagination 1-1-2009 Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005 Flavio Gregori Thomas Woodman Claudia Thomas Kairoff Francesca Orestano Peter Davidson See next page for additional authors Follow this and additional works at: http://scholarworks.gsu.edu/english_deptpub_li Part of the English Language and Literature Commons Recommended Citation Gregori, Flavio; Woodman, Thomas; Kairoff, Claudia Thomas; Orestano, Francesca; Davidson, Peter; Nicholson, Colin; Bastos da Silva, Jorge; Noggle, James; Deutsch, Helen; Spencer, Jane; Broich, Ulrich; Tosi, Laura; and Hammond, Brean S., "Studies in the Literary Imagination, Volume XXXVIII, Number 1, Spring 2005" (2009). English Department Publication - Studies in the Literary Imagination. Paper 13. http://scholarworks.gsu.edu/english_deptpub_li/13 This Article is brought to you for free and open access by the English Department Publications at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Department Publication - Studies in the Literary Imagination by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Authors Flavio Gregori, Thomas Woodman, Claudia Thomas Kairoff, Francesca Orestano, Peter Davidson, Colin Nicholson, Jorge Bastos da Silva, James Noggle, Helen Deutsch, Jane Spencer, Ulrich Broich, Laura Tosi, and Brean S. Hammond This article is available at ScholarWorks @ Georgia State University: http://scholarworks.gsu.edu/english_deptpub_li/13 Brean S. Hammond THE DUNCIAD AND THE CITY: POPE AND HETEROTOPIA I Writing on James Joyce, the critic Jeri Johnson points to the Irish writer’s aspiration “to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth, it could be reconstructed out of my book” (Johnson 60). -
Reading the Aeneid with Intermediate Latin Students: the New Focus Commentaries (Books 1-4 and 6) and Cambridge Reading Virgil (Books I and II)
Teaching Classical Languages Fall 2012 Syson 52 Reading the Aeneid with intermediate Latin students: the new Focus commentaries (Books 1-4 and 6) and Cambridge Reading Virgil (Books I and II) Antonia Syson Purdue University ABSTRACT This review article examines the five Focus Aeneid commentaries available at the time of writing. When choosing post-beginner level teaching commentaries, my central goal is to assess whether editions help teachers and students integrate the development of broader skills in critical enquiry into their explanations of grammar, vocabulary, and style, instead of artificially separating “liter- ary” and “historical” analytic strategies from “language” skills. After briefly explaining why the well-known Vergil editions by Pharr (revised by Boyd) and Williams do not suit these priorities, I summarize the strengths of the contributions to the new Focus series by Ganiban, Perkell, O’Hara, and Johnston, with particular emphasis on O’Hara’s edition of Book 4, and compare the series with Jones’ new textbook Reading Virgil: Aeneid I and II. KEY WORDS Aeneid, AP Latin, graduate survey, Latin poetry, pedagogy, Vergil, Latin commentary, intermediate Latin. TEXTS REVIEWED Ganiban, Randall T., ed. Vergil Aeneid 1. Newburyport, MA: Focus Publishing/R. Pullins Com- pany, 2009. ISBN: 978-1-58510-225-9 ———. Vergil Aeneid 2. Newburyport, MA: Focus Publishing/R. Pullins Company, 2008. ISBN: 978-1-58510-226-6 Perkell, Christine, ed. Vergil Aeneid 3. Newburyport, MA: Focus Publishing/R. Pullins Company, 2010. ISBN: 978-1-58510-227-3 O’Hara, James, ed. Vergil Aeneid 4. Newburyport, MA: Focus Publishing/R. Pullins Company, 2011. ISBN: 978-1-58510-228-0 Johnston, Patricia A., ed. -
Mythology, Greek, Roman Allusions
Advanced Placement Tool Box Mythological Allusions –Classical (Greek), Roman, Norse – a short reference • Achilles –the greatest warrior on the Greek side in the Trojan war whose mother tried to make immortal when as an infant she bathed him in magical river, but the heel by which she held him remained vulnerable. • Adonis –an extremely beautiful boy who was loved by Aphrodite, the goddess of love. By extension, an “Adonis” is any handsome young man. • Aeneas –a famous warrior, a leader in the Trojan War on the Trojan side; hero of the Aeneid by Virgil. Because he carried his elderly father out of the ruined city of Troy on his back, Aeneas represents filial devotion and duty. The doomed love of Aeneas and Dido has been a source for artistic creation since ancient times. • Aeolus –god of the winds, ruler of a floating island, who extends hospitality to Odysseus on his long trip home • Agamemnon –The king who led the Greeks against Troy. To gain favorable wind for the Greek sailing fleet to Troy, he sacrificed his daughter Iphigenia to the goddess Artemis, and so came under a curse. After he returned home victorious, he was murdered by his wife Clytemnestra, and her lover, Aegisthus. • Ajax –a Greek warrior in the Trojan War who is described as being of colossal stature, second only to Achilles in courage and strength. He was however slow witted and excessively proud. • Amazons –a nation of warrior women. The Amazons burned off their right breasts so that they could use a bow and arrow more efficiently in war.