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The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
The Death of Eurydice Orpheus' Descent Into Hades
Myth #4 Orpheus and Eurydice Name _____________________________________ READ CLOSELY AND SHOW EVIDENCE OF THINKING BY ANNOTATING. Annotate all readings by highlighting the main idea in yellow; the best evidence supporting in blue, and any interesting phrases in green. As it is only fitting, Orpheus, “the father of songs” and the supreme musician in Greek mythology, was the son of one of the Muses, generally said to be Calliope, by either Apollo or the Thracian king Oeagrus. Be that as it may, we know for sure that Orpheus got a golden lyre as a gift from Apollo when just a child, and that it was the god who taught him how to play it in such a beautiful manner. Moreover, his mother showed him how to add verses to the music, and his eight aunts how to polish them to perfection, in every style known to man. So, when Orpheus was a young man, as Shakespeare writes, his “golden touch could soften steel and stones, make tigers tame, and huge leviathans forsake unsounded deeps to dance on sands.” Loved by many, this young man loved only the beautiful Eurydice; and she loved him back. This is the story of their tragic love. The Death of Eurydice Soon after the marriage of Orpheus and Eurydice, Eurydice died of a snake bite. Different authors tell different stories as to what led to the fatal encounter. According to the most repeated story, Eurydice fell into a serpent nest after trying to escape from a certain Aristaeus, a shepherd who began to chase her through the forest as soon as he laid his eyes upon her otherworldly beauty. -
Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
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. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists. -
Massachusetts Senior Classical League
MASSACHUSETTS SENIOR CLASSICAL LEAGUE BOSTON ELITE CERTAMEN 2017 ROUND 1 1. Congratulations to all teams for making it to Round 1 of the 2017 Boston Elite Certamen Invitational. Let’s get right into it with everybody’s favorite: Dramatic Interpretation. With a teammate, act out the following passage, which I will read twice, that is based on a film the Romans might have called Istud: Dum pluit, puer lintrī chartāceā lūdēns in viā sōlus currēbat et rīdēbat. Capite in signō ob neglegentiam ictō, puer lapsus est in sēmitā lūbricā et lintrem āmīsit. Linter chartācea in cloācam cecidit, sed ā scurrā terribilī capta est. Scurra nōmen Pennywise eī esse dīxit et fierī amīcus puerī simulāvit. Cōnāns lintrem recipere, puer ā scurrā prehensus est. Bracchiō morsō, puer in cloācam tractus est ut omnīnō vorārētur. BOY IS RUNNING ON THE ROAD PLAYING WITH A PAPER BOAT AND LAUGHING. BOY HITS HIS HEAD ON A SIGN, FALLS DOWN, AND LOSES THE BOAT. THE BOAT FALLS INTO THE SEWER BUT A CLOWN IN -
Emma Buckley, School of Classics, St Andrews University
7384 words excluding bibliography ‘Ending the Argonautica: Giovanni Battista Pio’s Argonautica-Supplement (1519)’ Emma Buckley, School of Classics, St Andrews University Introduction: ancient Argonauticas The Argonautica – the tale of Jason, his quest for the Golden Fleece alongside a band of Argonaut brothers, and his capture of the Fleece with the help of the Colchian witch- maiden Medea – is a very old story indeed: Argo is already marked out in Homer’s Odyssey as “well known to all” (πᾶσι μέλουσα, Od.12.70). Time and again authors of classical antiquity, both Greek and Roman, addressed the quest for the Fleece and its aftermath, in lyric (Pindar’s fourth Pythian), elegy (Ovid’s 12th Heroides), and of course tragedy, where Euripides’ and Seneca’s Medeas to this day dominate in modern receptions of the myth. The tale not just of the attainment of the Fleece, but also the adventures of the Argonauts along the way, was, however, tackled most fully in the Hellenistic Argonautica of Apollonius Rhodius (written in the first half of the third century BC). Apollonius’ four-book epic – not only a narrative of marvellous adventures but also a treasure trove of aetiological, genealogical, ethnographical and scientific writing – sparked intense emulative response from Latin imitators, above all in the Argonautica of Varro Atacinus (now existing only in fragments), a late first-century BC translation of Apollonius that acculturated the Greek mythological epic to the contemporary nautical exploits of Julius Caesar.1 But it would take the arrival of a new imperial dynasty, the Flavians, and another emperor famed for sea-faring exploits – Vespasian – for a Roman author to treat the myth of Argo once again in epic. -
Homer the Iliad
1 Homer The Iliad Translated by Ian Johnston Open access: http://johnstoniatexts.x10host.com/homer/iliadtofc.html 2010 [Selections] CONTENTS I THE QUARREL BY THE SHIPS 2 II AGAMEMNON'S DREAM AND THE CATALOGUE OF SHIPS 5 III PARIS, MENELAUS, AND HELEN 6 IV THE ARMIES CLASH 6 V DIOMEDES GOES TO BATTLE 6 VI HECTOR AND ANDROMACHE 6 VII HECTOR AND AJAX 6 VIII THE TROJANS HAVE SUCCESS 6 IX PEACE OFFERINGS TO ACHILLES 6 X A NIGHT RAID 10 XI THE ACHAEANS FACE DISASTER 10 XII THE FIGHT AT THE BARRICADE 11 XIII THE TROJANS ATTACK THE SHIPS 11 XIV ZEUS DECEIVED 11 XV THE BATTLE AT THE SHIPS 11 XVI PATROCLUS FIGHTS AND DIES 11 XVII THE FIGHT OVER PATROCLUS 12 XVIII THE ARMS OF ACHILLES 12 XIX ACHILLES AND AGAMEMNON 16 XX ACHILLES RETURNS TO BATTLE 16 XXI ACHILLES FIGHTS THE RIVER 17 XXII THE DEATH OF HECTOR 17 XXIII THE FUNERAL GAMES FOR PATROCLUS 20 XXIV ACHILLES AND PRIAM 20 I THE QUARREL BY THE SHIPS [The invocation to the Muse; Agamemnon insults Apollo; Apollo sends the plague onto the army; the quarrel between Achilles and Agamemnon; Calchas indicates what must be done to appease Apollo; Agamemnon takes Briseis from Achilles; Achilles prays to Thetis for revenge; Achilles meets Thetis; Chryseis is returned to her father; Thetis visits Zeus; the gods con-verse about the matter on Olympus; the banquet of the gods] Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus. -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11.