The Roman Poets of the Augustan Age: Virgil by W
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Maecenas and the Stage
Papers of the British School at Rome 84 (2016), pp. 131–55 © British School at Rome doi:10.1017/S0068246216000040 MAECENAS AND THE STAGE by T.P. Wiseman Prompted by Chrystina Häuber’s seminal work on the eastern part of the mons Oppius, this article offers a radical reappraisal of the evidence for the ‘gardens of Maecenas’. Some very long-standing beliefs about the location and nature of the horti Maecenatiani are shown to be unfounded; on the other hand, close reading of an unjustly neglected text provides some new and unexpected evidence for what they were used for. The main focus of the argument is on the relevance of the horti to the development of Roman performance culture. It is intended to contribute to the understanding of Roman social history, and the method used is traditionally empirical: to collect and present whatever evidence is available, to define as precisely as possible what that evidence implies, and to formulate a hypothesis consistent with those implications. Sull’onda del fondamentale lavoro di Chrystina Häuber sul settore orientale del mons Oppius, questo articolo offre un completo riesame delle testimonianze relative ai ‘giardini di Mecenate’. Da un lato quest’operazione ha portato alla dimostrazione di come alcune convinzioni di lungo corso sulla localizzazione e natura degli horti Maecenatiani siano infondate; dall’altro lato, una lettura serrata di un testo ingiustamente trascurato fornisce alcune nuove e inaspettate prove delle modalità di utilizzo degli horti. Il principale focus della discussione risiede nella rilevanza degli horti allo sviluppo della cultura romana della performance. Con questo lavoro si vuole contribuire alla comprensione della storia sociale romana, e il metodo usato è quello, tradizionalmente, empirico: raccogliere e presentare tutte le fonti disponibili, definire nel modo più preciso possibile ciò che le fonti implicano e formulare un’ipotesi coerente con gli indizi rintracciati. -
THE Invaders Look Beyond the Fountain of Arethusa and Its Real Water and Thirsty People, No Other Tourists to Be Seen
Home Front and War Front: August 1943 527 THE invaders look beyond the Fountain of Arethusa and its real water and thirsty people, no other tourists to be seen. No sounds of bombs or firing at the moment, a faint noise that might be artillery in the distance, but you cannot always hear well for noise of lorries being loaded and banging their way into and out of the Port area. There are few ships in the harbor, considering its presumed importance in the invasion. The men ashore tell the propaganda team that the enemy has withdrawn promptly to the North and is resisting pursuit on the roads to Catania and all along the Southern flanks of Mount Etna. The Yanks are somewhere off to the West. Sgt. Myers; Sgt Guetta; Pvt. Camizzo; Corp. Laudando; Corp. Pathman; Pvt. Hillman; Sgt. Revley; Cpt. Robertson; Major Galsworthy; Cpt. Heycock; Ltd de Grazia; Sgt. Roberts; Pvt Morris; Pvt. Calvert; Pvt. Allen. The port is wrecked, the train sheds in shambles, the ancient city by no means destroyed, the population not much in evidence -- where are they? -- sfollati, fled to the countryside and to the great quarries, beginning now to trickle back into town. Once outside the old city, in the quarries and caves, and scattered over the hills and in cottages, you can view people by the thousands. Without binoculars and unless you got in close to their poverty, you would imagine a panoramic picnic, a county fair, a collective harvest. In these same ancient quarries had labored the surrendered army that Athens had sent to conquer Syracuse, soldiers of the Queen City of Antiquity, a myriad degraded to the status of slaves following their defeat. -
CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B
CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B. Knafel Professor of Music, Harvard University BLUE HERON Scot Metcalfe, direcor SATURDAY NOVEMBER 15, 2014 3 PM & 8 PM Firs Church in Cambridge, Congregational PROGRAM PART 2 at 8 pm Povre secors / Gaude chorus (Montpellier Codex, early 14th century) BG MB JM Capturing Music Diex qui porroit / En grant dolour (Montpellier Codex) Writing and Singing Music in the Middle Ages JM BG HARP Aucun ont trouvé / Lonc tans (Montpellier Codex) Tomas Forres Kelly Morton B. Knafel Professor of Music, Harvard University JM MB ST Blue Heron Scot Metcalfe, direcor Garrit gallus / In nova fert (Roman de Fauvel, 1314-18) IH MN SM Guillaume de Machaut (c. 1300-1377): Biauté qui toutes autres pere PART I at 3 pm OM JM MB Io son un pellegrin (14th century) Introit Ad te levavi OM ST soloist MB Jacob Senleches (f. 1380s): En atendant, Esperance conforte Introit Resurrexi OM CW SM soloist PT Baude Cordier (f. c. 1400): Belle, bonne, sage, plaisant et gente Alleluya Pascha nostrum MN CW SM soloist PG Johannes Ockeghem (c. 1420-1497): Kyrie, Missa prolationum Hymn Ut queant laxis MN IH JM MB Leoninus (f. 1180s-1200): Alleluya Pascha nostrum soloist JM Perotinus (f. c. 1200): Alleluya Pascha nostrum soloists MB & ST (Alleluya) / OM & JM (Pascha nostrum) Michael Barret, Brian Giebler, Paul Gutry, Ian Howell, Clausula Latus est (Magnus liber organi) Owen McIntosh, Jason McStoots, Martin Near, Mark Sprinkle, soloist MS Sumner Tompson, Paul Max Tipton, voices Motet Immolata paschali victima (Magnus liber organi) Charles Weaver, lute & voice MS JM Scot Metcalfe, director, harp & fddle Sumer is icumen in / Perspice Christicola (c. -
Catullus, As Can’T Be Counted by Spies Nor an Evil Tongue Bewitch Us
&$78//867+(32(06 7UDQVODWHGE\$6.OLQH ã Copyright 2001 A. S. Kline, All Rights Reserved This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any NON-COMMERCIAL purpose. 2 &RQWHQWV 1. The Dedication: to Cornelius............................... 8 2. Tears for Lesbia’s Sparrow.................................. 9 2b. Atalanta.............................................................. 9 3. The Death of Lesbia’s Sparrow ......................... 10 4. His Boat ............................................................ 11 5. Let’s Live and Love: to Lesbia .......................... 13 6. Flavius’s Girl: to Flavius ................................... 14 7. How Many Kisses: to Lesbia ............................. 15 8. Advice: to himself.............................................. 16 9. Back from Spain: to Veranius............................ 17 10. Home Truths for Varus’s girl: to Varus........... 18 11. Words against Lesbia: to Furius and Aurelius . 19 12. Stop Stealing the Napkins! : to Asinius Marrucinus............................................................. 21 13. Invitation: to Fabullus...................................... 22 14. What a Book! : to Calvus the Poet................... 23 15. A Warning: to Aurelius.................................... 25 16. A Rebuke: to Aurelius and Furius.................... 26 17. The Town of Cologna Veneta.......................... 27 21. Greedy: To Aurelius. ....................................... 30 22. People Who Live in Glass Houses: to Varus ... 31 -
Julius Caesar by William Shakespeare Presented by Paul W
Julius Caesar by William Shakespeare Presented by Paul W. Collins Copyright 2005 by Paul W. Collins Julius Caesar By William Shakespeare Presented by Paul W. Collins All rights reserved under the International and Pan-American Copyright Conventions. Except as permitted under the U.S. Copyright Act of 1976, no part of this work nay be reproduced, distributed, or transmitted in any form or by any means, or stored in a database or retrieval system, electronic, mechanical, photocopying, audio or video recording, or other, without the prior written permission of the copyright owner. Contact: [email protected] Note: Spoken lines from Shakespeare’s drama are in the public domain, as is the Globe (1864) edition of his plays, which provided the basic text of the speeches in this new version of Julius Caesar. But Julius Caesar, by William Shakespeare: Presented by Paul W. Collins, is a copyrighted work, and is made available for your personal use only, in reading and study. Student, beware: This is a presentation of Julius Caesar, not a scholarly work, so you should be sure your teacher, instructor or professor considers it acceptable as a reference before quoting characters’ comments or thoughts from it in your report or term paper. 2 Chapter One Ceremony and Dissent crowd of jubilating common folk gathers in celebration along a thoroughfare near the A Capitol in ancient Rome—smiling artisans, tradesmen clerks and laborers, and mothers laughing happily with their young children. Everyday chores have been left to wait, as the people come forth to hail their popular leader. They are welcoming him in ceremonial triumph as he returns from battle in Spain, where he has defeated a rebellion led by sons of the late ruler Pompey and several generals supported by hidebound Senate factions—in a conflict of Roman against Roman. -
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. -
Augustan Poetry the Rape of the Lock by Alexander Pope
B.A.(H) Second year EN202: Poetry and Drama From 1660 to 1785 Unit34: Augustan Poetry The Rape of the Lock By Alexander Pope The Poet Pope was born in London in 1688 in a catholic family. The period covering the age of Pope is generally known as the Augustan age of English literature. The writers of this age took the Classical authors as their role models and attempted to adhere to the principles of harmony, propriety, order, reason and restraint. “It was the age of reason and the age of prose, our excellent eighteenth century”, in the words of Matthew Arnold. To most authors of the period, life meant only the life of the fashionable society of the town tinged with numerous vices and follies from which flourished the vehement satires of the time .The aspiring poet Alexander Pope, being the victim of the anti-catholic sentiments at that time, was compelled to leave the capital and moved to Binfield with his family in 1700. Another disadvantage of his life was his deformed body due to his tuberculosis at the age of twelve. Whatever calamity was there in his personal life, Pope's literary career was voluminous. He was acclaimed greatly after the publication of An Essay on Criticism (1711) , an aphoristic verse proclaiming the neo-classical good manners and common sense. His An Essay on Man((1733-34) rediscovered the kinship between human race and the Newtonian Universe. The four Moral Essays(1731-35), impinged with the idea of balance in private and public life, established his recognition as a poet of universal appeal. -
The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
Natural History
niir=Jlir^Mr^iir^ir^J|EJ|[:^|L:i||L=U|La|L=U|L=U|L=J|U=J|l=J|U=J|t=JH B CLASSICAL LIBRARY ; Compkte list of Locb titlcs can he Jound at thc end ofeach vohime PLINY the Elder, Gaius Plinius Secundus (A.D. 23-79), a Roman oi equestrian rank of Transpadane Gaul (N. ItaK ), was iincle of Pliny the letter writer. He pur- sued a career partlv miiitary in Germany, jiartlv administrative in Gaul and Spain under the emperor Vespasian, became prefect of the fleet at Misenum, and died in the eruption of Vesuvius when he went to get a closer view and to rescue friends. Tireless worker, reader, and writer, he was author of works nov, lost, but his S^reat haturaJis Hiswria in 37 books with its vast collection of facts (and alleged facts) survives-a mine ot intormation despite its uncritical character. Book 1 : table of contents of the cjthers and ol authorities ; 2 : mathematical and metro- logical survev ot the universe; 3-6: geographv and ethnoaraphv of the known world; 7: anthropolojjv and the phvsio- logy of man ; 8-1 i : zooloav; 12-19: botanv, agriculture and horticulture 20-27 : plantproductsasusedinmedicine; 28-32 medical zoologv; 33-37: minerals (and medicine), the hne arts and gem- stones. LIER THE LOEB CLASSICAL LIBRARY FOUNDED BY JAME3 LOEB, LL.D. EDITED BY tT. E. PAGE, C.H., LITT.D. tE. CAPPS. PH.D., LL.D. tW. H. D. ROUSE, litt.d. L. A. POST, L.H.D. E. H. WARMINGTON, m.a., f.r.hist.soc. -
Esposito,Michael Dissertation Persuasion in the Aeneid
PERSUASION IN THE AENEID A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Michael Esposito December 2017 © 2017 Michael Esposito PERSUASION IN THE AENEID Michael Esposito, Ph.D. Cornell University 2017 This dissertation is an analysis of how characters in the Aeneid acquire and use knowledge to manipulate their addressees, and of how the Vergilian narrator employs similar strategies to manipulate his reader. The first three chapters are readings of speeches and scenes informed by a focus on each character’s rhetorical goals and persuasive strategies. I concentrate particularly on passages in which characters invent, distort, and speak tendentiously in other ways. The final two chapters argue that the Vergilian narrator is misdirecting, because he uses untrue character speech to raise unfulfilled expectations, and that he is suppressive, because he leaves out much, and displaces the telling of much onto unreliable characters’ claims. In the first chapter I examine how the reader perceives what characters in the Aeneid know, how the characters come to know, and how they use what they know. In the second chapter I interpret the diplomatic exchanges between Ilioneus and Latinus and between Aeneas and Evander as rhetorical contests for advantage, informed by the chaotic military and political world that is Vergil’s Italy. In the third chapter I argue that the speech in the last four books shifts to disputing the responsibility for the outbreak of the war and the question of over what the war is being fought. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.