DOCSLIB.ORG

Classical Helen 20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Classical Helen 20 Durham E-Theses `As Meeke as Medea, as honest as Hellen': English literary representations of two troublesome classical women, c.1160-1650 Heavey, Katherine How to cite: Heavey, Katherine (2008) `As Meeke as Medea, as honest as Hellen': English literary representations of two troublesome classical women, c.1160-1650, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2930/ 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 Durham E-Theses • 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 Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 'As Meeke as Medea, as Honest as Hellen': English Literary Representations of Two Troublesome Classical Women, c.1160-1650. Katherine Heavey PhD Thesis Durham University Department of English Studies December 2008 The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. Thesis Abstract: 'As Meek as Medea, as Honest as Hellen': English Literary Representations o(Two Troublesome Classical Women, c.1160-1650. My thesis considers English literary representations of two notorious classical women, Helen of Troy and Medea, from the twelfth to the seventeenth centuries. My primary focus is on the ways in which male authors in the period deal with the troubling spectres of the women's very different powers: Helen's alarming and captivating sexuality, Medea's magical abilities and unrestrained violence. First tracing how their power is represented in classical and late antique Greek and Latin texts, I then assess how their stories enter the English literary imagination. My project considers both longer renderings of their stories (Gower's Confessio Amantis, Lydgate's Troy Book, Heywood's Ages) and also the brief references to both women that recur time and again in the works of authors including Chaucer, Hoccleve, Gascoigne, Turberville and Greene. My research spans genres and media, considering the various uses the women are put to (didactic, cautionary, tragic, occasionally comic) in history, prose, poetry and drama, as well as in direct translation of classical works. Very often, authors use Helen and/or Medea ironically, in a way that demands a close familiarity with their classical incarnations (particularly, perhaps, with Ovid). Often paired as well as treated separately, Helen and Medea are used across the period to exemplify the unhappy effects of love, the dangerous effects of passion, and perhaps most frequently, the peculiar dangers women pose to men. Though their literary incarnations have often been considered separately by critics, by handling them together my research considers the way authors such as Chaucer, Lydgate, Gascoigne and Turberville choose their classical exemplars very carefully, how two apparently quite different notorious women may be turned to the same ends, used to caution both men and women. Taking their power, and concerted male efforts to undermine it, as its overarching theme, the thesis considers Helen and Medea in relation to medieval and Renaissance theories of translation, to instructional, didactic or cautionary literature, to Christianity, to political and religious upheaval, and most significantly, in relation to the male establishment of the period. My thanks are due to my two supervisors, Dr Robert Carver and Professor Corinne Saunders, for their help and advice throughout the project, and for checking Latin and Old French translations. Thanks also to Jon Carter, Romain Fournier and Laura Jose for help with proofreading, and to the staff of Durham University Library, the British Library and the Bodleian Library, Oxford. List of Abbreviations EETS OS Early English Text Society, Original Series 1864-. EETS XS Early English Text Society, Extra Series 1867-1921. ELH English Literary History MLN Modem Language Notes MLR Modern Language Review PL Patrologia Latina Cursus Cornpletus, ed. J.P. Migne. Paris: 1844-65. PMLA Proceedings of the Modern Language Association RER Rerum Britannicarum Medii Aevi Scriptores. London: 1858- 1964. RES Review of English Studies SQ Shakespeare Quarterly 2 TAPA Transactions of the American Philological Society Note on editions used The structure of the thesis means that frequently, texts are discussed and quoted first in a chapter on Helen, and then again some time later in a chapter on Medea. Unless I have noted otherwise, I have used the same editions of primary texts throughout. Thus if I have used a text in my discussion of both women, the citation will generally be found in the relevant place in the Helen chapter. Note on early modern texts Throughout the thesis, where necessary I have replaced u with v and i with j in medieval and early modem English texts and translations. I have also replaced the longs in early modem texts with a standards. Unless I am quoting a critic or primary text, I have also standardised certain names, most notably Aeetes, Ageus, Apsyrtus, Helen, Menelaus, and Pelias. Particularly long titles have been abbreviated in the text and in footnotes~ the full title may be found in the Bibliography. Occasionally in early modem texts, I have been unable to find a signature. In such cases, I have noted this in the footnotes, and wherever possible have supplied the missing signature, or else the page number given in the early modem edition used. 3 Contents Introduction 5 Chapter One: Classical Helen 20 Chapter Two: Classical Medea 42 Chapter Three: From Antiquity to the Middle Ages 64 Chapter Four: Helen in the English Middle Ages 108 Chapter Five: Medea in the English Middle Ages 132 Chapter Six: Early Modern Helen 165 Chapter Seven: Early Modern Medea 249 Conclusion 314 Bibliography 319 4 Introduction "[ ... ] it seemeth his Lady Laymos that he so highly commended, was in very deede as fayre as Flora, as faithful as Faustine, as loving as Layis, as meeke as Medea, as honest as Hellen, as constant as Cressed, and as modest as Maria Bianca, and therefore worthie of estimation". (P') George Whetstone, The Rocke of Regard ( 1576).1 In this extract from The Rocke of Regard, a collection of prose and poetry published by George Whetstone in 1576, the Reporter makes wry comment on the hero Plasmas' misguided love for Laymos, a woman who is later to prove faithless. In his use of classical mythology, and through the Reporter, Whetstone introduces several issues that were key to the representation of both Helen and Medea by male authors in the sixteenth century, throughout the Middle Ages and into the seventeenth century. First, if the reader is to understand the point that the Reporter hopes to make, he or she must understand the allusion, must know the classical stories of Homer, Ovid, Virgil or Seneca, and understand who Helen and Medea were, and how they arrived in Elizabethan England. However, knowledge of these classical texts, of Ovid's Metamorphoses, Heroides, and Ars Amatoria, Homer's Iliad and Odyssey, Virgil's Aeneid, and the tragedies of Euripides and Seneca (all of which were available by the time Whetstone came to write) may seem to complicate, rather than to elucidate, the Reporter's commentary on Plasmas' love. An astute reader of the classics would know that Medea was typically far from meek, that Helen was deceptive and untrustworthy, and that the comparison between them and Laymos therefore seems inherently flawed. In tum, the reader must appreciate that the women are used ironically, that the choice of such classical figures is intended to say far more about Plasmas' blindness than it does about Laymos and her virtue. Accordingly, Whetstone's words problematise the issue of how to read the classics,. and how male characters read them in the period. Whetstone cleverly subverts not only the classical reputations of these 1 George Whetstone, The Rocke of Regard (London: H. Middleton for Robert Waley, 1576). 5 women, but also the medieval catalogue tradition, which very often saw such women (and often, specifically, Helen and Medea) listed as examples either of wicked women, or of women who suffered for love. Plasmos' infatuation with Laymos - his refusal to recognise or acknowledge her infidelity - gives her a degree of power, which is underlined by his failure to recognise the subversive threat that his classical models posed to the male establishment (and specifically to male control over their wives). At the same time, however, if the Reporter (and through him Whetstone) poke fun at Plasmos by making such comparisons, they concurrently undermine their classical models: Helen, Medea, Cressid. (It is worth noting that here Whetstone is deliberately choosing a trio frequently linked by disapproving male authors from the Middle Ages onwards: all embroiled in the story of the Trojan War, all women any man would be unwise to become involved with). Accordingly, Whetstone's use of both women underscores the uncomfortable relationship between their power and the male authorial community in the period, and earlier. Male authors from antiquity onwards found Helen and Medea's power in relation to the male community to be deeply alarming: Helen's disturbing sexual appeal, and the devastating war it engendered; Medea's control over Jason's success in the quest for the Golden Fleece, and later the devastating revenge she wreaks on him for ignoring the marriage vows he swore to her, in favour of a more auspicious match.
Load more

Recommended publications
  • Alexander the Great and Hephaestion
    2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship.
    [Show full text]
  • Summaries of the Trojan Cycle Search the GML Advanced
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc.
    [Show full text]
  • Classical Literature in Translation Live Session The
    Dr A. Sophie Schoess [email protected] Classical Literature in Translation Live Session Te Trojan Horse: Te Story of a Myth One of the earliest depictions of the Trojan Horse on the Mykonos vase, c. 670 B.C. cc by Travelling Runes (accessed online via https://commons.wikimedia.org/wiki/File:Mykonos_vase.jpg) I. Te Trojan Horse in Archaic Poetry 1.1 Lesches of Mytilene, Little Iliad (Ilias parva) — Proclus’ summary (4) Epeios, following an initiative of Athena’s, <fells timber from Ida> and constructs the woo- den horse. Odysseus disfigures himself <and puts on pauper’s clothes> and enters Ilion to re- connoitre. He is recognized by Helen, and comes to an agreement with her about the taking of the city. Afer killing some Trojans, he gets back to the ships. Afer this he brings the Palladion out of Ilios with Diomedes. (5) Ten they put the leading heroes into the wooden horse. Te rest of the Greeks burn their huts and <leaving Sinon behind, who was to light a torch signal for them, in the night> they withdraw to Tenedos. Te Trojans, believing themselves rid of their troubles, take the wooden horse into the city by breaching a portion of the wall, and start celebrating their supposed vic- tory over the Greeks. 1.2 Arctinus of Miletus, Te Sack of Ilion (Iliou persis) — Proclus’ summary (1) Te Trojans are suspicious in the matter of the horse, and stand round it debating what to do: <with Cassandra saying that it contained an armed force, and the seer Laocoon likewise,> some want to push it over a cliff, and some to set fire to it, but others say it is a sacred object to be dedicated to Athena, and in the end their opinion prevails.
    [Show full text]
  • The Roles of Solon in Plato's Dialogues
    The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought.
    [Show full text]
  • 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).
    [Show full text]
  • Iliad Teacher Sample
    CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32
    [Show full text]
  • Homer: an Arabic Portrait1
    Edin Muftić Homer: An Arabic portrait1 Homer is rightfully seen as the first teacher of Hellenism, the poet who educated the Greek, who in turn educated Europe. But, as is well known, Europe doesn’t have a monopoly on Greek heritage. It was also present in the Islamic tradition, where it manifested itself differently. Apart from phi- losophy, mathematics, astronomy, medicine and pharmacology, Greek poetry, even if usually not translated, was also widely read among the Arab-Islamic intellectual elite. The author analyses the extent to which Homer’s works circulated, how well known were his poetics, and the influence his verses exerted during the heyday of Classical Arab-Islamic civilization. Keywords: Homer; translation movement; Al-Biruni; arabic poetry; Al-Farabi; Averroes INTRODUCTION The Greek and Arab epic tradition have much in common. Themes of tribal enmity, invasions and plunder, abduction of women, revenge, heroism, chivalry and love feature prom- inently in both traditions. While the Greeks have Hercules, Perseus, Theseus, Odysseus, Jason or Achilles, the Arabs have ʻAntar bin Šaddād (the “Arab Achilles”), Sayf bin ī Yazan, Az-Zīr Sālim and many others. When it comes to the actual performance of poetry, similarities be- Ḏ tween the two traditions are even greater. Homeric aoidos playing his lyre has a direct coun- terpart in Arab rawin playing his rababa. The Arab wandering poet often shares the fate of his Greek colleague (Imruʼ al-Qays, arafa and Al-Aʻšá, and Abū Nuwās and Al-Mutanabbī are the most famous examples). Greek tyrants who were famous for hosting poets like Ibycus, Anacre- Ṭ on, Simonides, Bacchylides or Pindar, while expelling others like Alcaeus, have a royal counter- part in An-Nuʻmān bin al-Mun ir, the ruler of Hira.
    [Show full text]
  • Wide Angle a Journal of Literature and Film
    2 Wide Angle a journal of literature and film Volume 10 Spring 2021 Published by Department of English Samford University Wide Angle 3 Mission Statement Literature and film continually reimagine an ever-changing world, and through our research we discover our relationships to those art forms and the cultures they manifest. Publishing one issue each academic year, Wide Angle serves as a conduit for the expression and critique of that imagination. A joint publication between English majors and faculty, the journal embodies the interdisciplinary nature of the Department of English at Samford University. It provides a venue for undergraduate research, an opportunity for English majors to gain experience in the business of editing and publishing, and a forum for all Samford students, faculty, and staff to publish their best work. As a wide-angle lens captures a broad field of vision, this journal expands its focus to include critical and creative works, namely academic essays, book and film reviews, and commentaries, as well as original poetry, short fiction and non-fiction, and screenplays. Editorial Staff 2020-‘21 Managing Editor……………………Andre’A Roper Assistant Managing Editor………….Parker Gilley Literature Editor………………….....Margaret Kirby Film Editor……………………….....Will Carlisle Creative Writing Editor……………..Brice Boyer General Editor………………………Dr. Geoffrey A. Wright Special Call This year, along with the general call for submissions, the editorial staff issued a special call for submissions on race and ethnicity in literature and film. The Editors’ Desks commentaries address issues of race ranging from Sherlock Holmes to Kanye West. Cover Art “Ten Years of Excellence” By Will Carlisle Copyright © 2021 Wide Angle, Samford University.
    [Show full text]
  • The Function of Lethe
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons This is an electronic version of an article published in M. Baker and D. Glenn (eds) 2000. ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide. Coassin, Flavia 2000. The Function of Lethe. In M. Baker and D. Glenn (eds). ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide, 95-102. THE FUNCTION OF LETHE FLAVIA COASSIN WHEN, in the last canto of the Purgatorio, Dante-character claims not to remember having ever estranged himself from Beatrice, she reminds him that he has just drunk of Lethe, and adds that his inability to remember is proof of his estrangement, just as from smoke fire is inferred: "E se tu ricordar non te ne puoi," sorridendo rispuose, "or ti rammenta come bevesti di Letè ancoi; e se dal fummo foco sargomenta, cotesta oblivion chiaro conchiude colpa ne la tua voglia altrove attenta". (Purg. XXXIII, 94-99) According to Reggio, l who also quotes Chimenz, the comparison is insubstantial, because there is no logical connection between oblivion and sin as there is between smoke and fire, and thus oblivion does not count as proof, his assumption being that there could be oblivion without sin. This assumption, however, is incorrect. In Dantes poem, as well as in the classical myths concerning the afterlife, we find that the connection between the two is, on the contrary, one of cause and effect. It is not by coincidence that the episode in question (lines 91-129) contains two instances of forgetfulness, namely, of having sinned and of Mateldas previous explanation of the function of the two rivers.
    [Show full text]
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]
  • 1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
    Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience.
    [Show full text]
  • Center 7 Research Reports and Record of Activities June 1986-May 1987
    National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 7 Research Reports and Record of Activities June 1986-May 1987 Washington, 1987 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1987 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: William Hogarth, The Battle of the Pictures, 1744/1745. National Gallery of Art, Washington, Rosenwald Collection. CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 12 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1986-1987 (June 1986-May .1987) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 17 Meetings 21 Lecture Abstracts 30 Members' Research Reports Reports 36 i X- ql V ,~ !ill" ¸ L | i ~ ~L I / / HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. This community consists of the Samuel H. Kress Professor, the Andrew W. Mellon Lecturer in the Fine Arts, Senior Fellows, Visiting Senior Fellows, National Gallery of Art Curatorial Fellow, Associates, and Predoctoral Fellows.
    [Show full text]