The Roman Poets of the Augustan Age: Virgil by W

Total Page:16

File Type:pdf, Size:1020Kb

The Roman Poets of the Augustan Age: Virgil by W The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies. It is with this feeling that I should wish to associate your name with this volume. Many of your former pupils can confirm my recollection that one of the happiest influences of our youth was the admiration excited by the union, in your teaching, of perfect scholarship with a true and generous appreciation of all that is excellent in literature. The intimate friendship of many subsequent years has afforded me, along with much else of still higher value, ample opportunities for verifying these early impressions. Ever affectionately yours, W. Y. SELLAR. PREFACE TO THE FIRST EDITION This volume has been written in continuation of one which appeared some years ago on the Roman Poets of the Republic. I hope in a short time to bring out a new edition of that work, enlarged and corrected, and afterwards to add another volume which will treat of Horace and the Elegiac Poets. I have reserved for this later volume the examination of the minor poems which have been attributed to Virgil, most of which belong to the Augustan Age. Besides the special acknowledgments of ideas or information derived from various sources, which are made in notes at the foot of the page where an occasion for them arises, I have to make a general acknowledgment of the assistance I have received in my studies of the Augustan literature from the earlier volumes of Dr. Merivale’s ‘History of the Romans under the Empire,’ from the ‘History of Roman Literature’ by W. S. Teuffel, from M. Sainte-Beuve’s ‘Étude sur Virgile,’ and from the Introductions and Notes to Professor Conington’s edition of Virgil, and Mr. Munro’s edition of Lucretius. In the account given of the Alexandrian literature in Chapter I, I have availed myself of the chapters treating of that subject in Helbig’s ‘Campanische Wandmalerei’; in treating of the estimation in which Virgil was held under the Roman Empire, I have taken several references from the work by Sr. Comparetti, ‘Virgilio nel Medio Evo’; and in examining the order in which the Eclogues were composed, I have adopted the opinions expressed in Ribbeck’s Prolegomena. I have also derived some suggestions from the notes in the edition of Virgil by M. E. Benoist, and from the work of M. G. Boissier, ‘La Religion Romaine d’Auguste aux Antonins.’ As the greater part of this volume was written before the appearance of Dr. Kennedy’s Virgil, I have not been able to make so much use of his notes as I should have wished: I have, however, profited by them to correct or to illustrate statements made before I had seen x The Roman Poets of the Augustan Age: Virgil his work, and, in revising the Virgilian quotations for the press, I have followed his text. I did not read Mr. Nettleship’s valuable and original ‘Suggestions Introductory to the Study of the Aeneid’ until I had finished writing all I had to say about that poem. I have drawn attention in the text or in notes at the foot of the page to some places in which I modified what I had originally written after reading his ‘Suggestions,’ to others in which my own opinions are confirmed by his, and to one or two points of divergence in our views. Since the third chapter was printed off, I have received what seems a confirmation of the opinion expressed there as to the probable situation of Virgil’s early home, from a friend who recently visited the district, where I suppose it to have been. He writes of the country which he passed through—‘The result of my observations perfectly confirms what you had already supposed. The country south of the Lago di Garda for a distance of at least twenty miles is of a gently undulating character, and is intersected by long ranges of hills which gradually sink down towards the lake and the Mincio. The loftiest of these hills may perhaps reach a height of 1000 feet above the lake-level, but that is a point on which I cannot say anything certain.’ EDINBURGH, Nov. 1876. PREFACE TO THE SECOND EDITION The only material change which I have made in this edition is that I have added translations of the passages quoted, for the convenience of any readers, who, without much knowledge of Latin, may yet wish to learn something about Latin literature. In the translations from Virgil, I have sometimes made use of expressions which I found in Conington’s prose Translation and in Mr. Papillon’s recently published edition of Virgil. I have also availed myself of Sir Theodore Martin’s Translation of the Odes of Horace. In correcting or supplementing some statements made in the first edition, I have occasionally profited by remarks made in criticisms on that edition which appeared shortly after its publication. EDINBURGH, March, 1883. CONTENTS CHAPTER I. GENERAL INTRODUCTION. PAGE I. Relation of the Augustan Age to 1–8 other Literary Epochs Relation of the Augustan poetry to that 1 of the preceding Age Parallel of the Augustan Age with other 4 great literary Epochs —— especially with the Age of Louis 5 XIV Chief conditions modifying the poetry 7 of the Augustan Age II. Influence of the enthusiasm in 8–21 favour of the Empire General longing for peace 8 Revival of national sentiment and pride 10 of Empire Moral and religious reaction 13 Augustus the centre of the national en- 14 thusiasm Deification of the Emperor in the poetry 15 of the Age —— illustrated by other extant works 19 of art Direction given to national sentiment 20 by Augustus III. Influence of Patronage on the 21–31 Augustan Poetry Poetry employed in the interest of the 21 Government CONTENTS xiii Patrons of literature—Augustus 22 Personal influence of Maecenas 23 Pollio, Messala, Agrippa, Cornelius 26 Gallus Causes of the connexion between liter- 28 ature and social eminence Effects of this connexion on the tone of 29 literature IV. Influence of material conditions 31–37 on Literature Wealth and luxury of Rome in the Au- 31 gustan Age Liberality of Augustus and Maecenas 33 to Virgil and Horace Effects of this on the art of these poets 34 Reaction from the luxury of the Age 35 apparent in literature V. General condition of literary cul- 37–54 ture as affecting the Augustan Poetry Intellectual character of the last years 37 of the Republic and earlier years of the Empire Distinction between the earlier and later 38 periods Appreciation of Greek art and literature 39 in both Alexandrine influences on the Augus- 41 tan poetry Characteristics of the Alexandrine po- 42 ets Their treatment of mythological sub- 43 jects xiv The Roman Poets of the Augustan Age: Virgil Scientific and learned character of their 44 poetry Their treatment of the passion of love 45 Their treatment of external Nature 46 Pictorial art of the later Greeks 48 Superiority of the Augustan to the 49 Alexandrine literature Friendly relations among the poets of 51 the Augustan Age Influence of these relations on their art 52 Hostility of other literary coteries 53 VI. Causes of the special devotion to 54–58 Poetry in the Augustan Age Effect of the Monarchy on the great 55 forms of prose literature Poetry later in feeling the effects of 56 Despotism The Augustan literature the maturest 57 development of the national mind CHAPTER II. VIRGIL’S PLACE IN ROMAN LIT- ERATURE. Virgil’s pre-eminence acknowledged 59 till recent times Disparagement of his genius in the 60 present century I. Estimate of Virgil in former times 60–68 His former reputation as a great Epic 61 Poet Estimate of the Aeneid among the Ro- 61 mans " " during the ‘Dark Ages’ 64 CONTENTS xv " " at the revival of letters 65 " " during the 17th and 18th centuries 67 II. Change in the estimate of Virgil 68–77 in the present century Virgil’s alleged dissatisfaction with the 69 Aeneid Probable explanation of this 70 Adverse criticisms in the present cen- 71 tury Causes of these criticisms 74 Advance in Greek scholarship 74 Modern interest in remote antiquity 74 Literary reaction at the end of the 18th 75 century III.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]