Read the Entire Aeneid. Do Not Skip Sections of the Book. You Need to Read the Whole Thing in Order to Understand All of the Motivations
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Santa Maria Antiqua: the Amalgamation of Identity in Early Medieval Rome
Pursuit - The Journal of Undergraduate Research at The University of Tennessee Volume 6 Issue 1 Article 7 April 2015 Santa Maria Antiqua: The Amalgamation of Identity in Early Medieval Rome Cayce Davis University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/pursuit Part of the Architectural History and Criticism Commons, and the Historic Preservation and Conservation Commons Recommended Citation Davis, Cayce (2015) "Santa Maria Antiqua: The Amalgamation of Identity in Early Medieval Rome," Pursuit - The Journal of Undergraduate Research at The University of Tennessee: Vol. 6 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/pursuit/vol6/iss1/7 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Pursuit - The Journal of Undergraduate Research at The University of Tennessee by an authorized editor. For more information, please visit https://trace.tennessee.edu/pursuit. Pursuit: The Journal of Undergraduate Research at the University of Tennessee Copyright © The University of Tennessee PURSUIT trace.tennessee.edu/pursuit Santa Maria Antiqua: The amalgamation of Identity in Early Medieval Rome CAYCE DAVIS Advisor: Dr. Gregor Kalas The intent of this investigation is to frame an identity for the church of Santa Maria Antiqua and the urban condition of Rome during the sixth through eighth centuries. Coupling topographical and semiotic information with larger geographic issues, this study interrogates the church and specific individuals associated with it as a way of more comprehensively understanding Santa Maria Antiqua as a visual medium of cultural change and political propaganda. -
Ion First Folio
FIRST FOLIO Teacher Curriculum Guide Table of Contents Page Number Welcome to the About the Play Shakespeare Theatre Company’s Synopsis of Ion……………………………….2 production of Interview with Director Ethan McSweeny….3 Ion Family Life in Ion ……………………………..4 by Euripedes Intro to Greek Mythology and Drama…..….5 People and Places in Ion ...………………….6 This season, the Shakespeare Theatre Company presents seven plays by William Classroom Connections Shakespeare and other classic playwrights. Before and After the Performance….....……7 Consistent with STC's central mission to be Resource List, Standards of Learning……...8 the leading force in producing and preserving Theatre Etiquette………………………….….9 the highest quality classic theatre , the Education Department challenges learners of The First Folio Teacher Curriculum Guide for all ages to explore the ideas, emotions and Ion was developed by the Shakespeare principles contained in classic texts and to Theatre Company Education Department, discover the connection between classic with articles compiled and written by Abby theatre and our modern perceptions. We Jackson and Michelle Jackson. Layout and hope that this First Folio Teacher Curriculum editing by Caroline Alexander. Guide will prove useful as you prepare to bring your students to the theatre! For the 2008-09 season, the Education Department will publish First Folio Teacher Curriculum Guides for our productions of Romeo and Juliet, Twelfth Night and Ion. First Folio Guides provide information and activities to help students form a personal connection to the play before attending the production. First Folio Guides contain material about the playwrights, their world and their works. Also included are approaches to exploring the plays and Next Steps productions in the classroom before and after If you would like more information on how the performance. -
CLASSICAL MYTHS Unit 3. the Trojan War
CLASSICAL MYTHS Unit 3. The Trojan War 1. The fragments below belong to the text you are about to read. Work in pairs to decide where they should go. a) the son of Thetis and Peleus b) the king of Troy c) but was destined never to be believed d) sister of Helen e) According to the legend, the son of Ilos was Laomedon, who was regarded as a cheat and a liar f) It was a formidable fleet and army which left the Greek shores to embark on the siege of Troy g) Odysseus decided it was time to use some guile h) a priest of Apollo i) Menelaus, in the other hand, lived happily for many years with Helen j) During the wedding festivities the uninvited Eris, goddess of Discord, threw down a golden apple k) whom Zeus had seduced when he came to her in the disguise of a swan l) The Greeks began sacking the city m) and dragged the body three times round the city wall behind his chariot n) the man the Greeks had left behind THE TROJAN WAR Greek legends tell of a 10-year war between the Greeks and the people of Troy in Asia Minor. Troy was said to have been founded by a man called Teucer who became its first king and under his great-great-grand-son, Ilos, it received the name Ilion _1_ . Apollo and Poseidon built a wall round Troy for him, but Laomedon refused to give them the payment he had promised. In revenge the gods sent a sea monster to ravage Troy but the hero Heracles promised to kill it on the condition that Laomedon gave him his horses. -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
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. -
Of Turnus in the Aeneid Michael Kelley
Tricks and Treaties: The “Trojanification” of Turnus in the Aeneid Michael Kelley, ‘18 In a poem characterized in large part by human intercourse with the divine, one of the most enigmatic augury passages of Virgil’s Aeneid occurs in Book XII, in which Juturna delivers an omen to incite the Latins toward breaking their treaty with the Trojans. The augury passage is, at a superficial level, a deceptive exhortation addressed to the Latins, but on a meta- textual, intra-textual, and inter-textual level, a foreshadowing of the downfall of Turnus and the Latins. In this paper, I will begin by illustrating how the deception within Juturna’s rhetoric and linguistic allusions to deception in the eagle apparition indicate a true meaning which supersedes Juturna’s intended trickery. Then, in demonstrating inter-textual and intra-textual paradigms for Turnus, I will explain how the omen, and the associations called for therein, actually anticipate Turnus’s impending, sacrificial death. Finally, I will address the implications of my claim, presenting an interpretation of a sympathetic Turnus and a pathetically deceived Juturna. While the omen which follows is not necessarily false, Juturna’s rhetoric, spoken in the guise of Turnus’s charioteer Metiscus,1 is marked by several rhetorical techniques that are, ultimately, fruitful in inciting the Latins toward combat. Attempting to invoke their better reason, Juturna begins the speech with several rhetorical questions that appeal to their sense of honor and their devotion to Turnus.2 Her description of the Trojans as a fatalis manus, translated by Tarrant as “a troop protected by fate,”3 is most likely sarcastic, referencing what she deems a self-important insistence on prophecy from the Trojans. -
The Greatest Opera Never Written: Bengt Lidner's Medea (1784)
Western Washington University Masthead Logo Western CEDAR Music Faculty and Staff ubP lications Music 2006 The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) Bertil Van Boer Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/music_facpubs Part of the Music Commons Recommended Citation Van Boer, Bertil, "The Greatest Opera Never Written: Bengt Lidner’s Medea (1784)" (2006). Music Faculty and Staff Publications. 3. https://cedar.wwu.edu/music_facpubs/3 This Article is brought to you for free and open access by the Music at Western CEDAR. It has been accepted for inclusion in Music Faculty and Staff Publications by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Bertil van Boer The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) hen the Gustavian opera was inaugurated on 18 January 1773 with a performance of Johan Wellander and Fran- W cesco Antonio Baldassare Uttini’s Thetis och Pelée, the an- ticipation of the new cultural establishment was palpable among the audiences in the Swedish capital. In less than a year, the new king, Gustav III, had turned the entire leadership of the kingdom topsy-turvy through his bloodless coup d’état, and in the consolida- tion of his rulership, he had embarked upon a bold, even politically risky venture, the creation of a state-sponsored public opera that was to reflect a new cultural nationalism, with which he hoped to imbue the citizenry with an understanding of the special role he hoped they would play in the years to come. -
The Power of Images in the Age of Mussolini
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies. -
2019 Stanford CERTAMEN ADVANCED LEVEL ROUND 1 TU
2019 Stanford CERTAMEN ADVANCED LEVEL ROUND 1 TU 1. Translate this sentence into English: Servābuntne nōs Rōmānī, sī Persae īrātī vēnerint? WILL THE ROMANS SAVE US IF THE ANGRY PERSIANS COME? B1: What kind of conditional is illustrated in that sentence? FUTURE MORE VIVID B2: Now translate this sentence into English: Haec nōn loquerēris nisi tam stultus essēs. YOU WOULD NOT SAY THESE THINGS IF YOU WERE NOT SO STUPID TU 2. What versatile author may be the originator of satire, but is more famous for writing fabulae praetextae, fabulae palliatae, and the Annales? (QUINTUS) ENNIUS B1: What silver age author remarked that Ennius had three hearts on account of his trilingualism? AULUS GELLIUS B2: Give one example either a fabula praetexta or a fabula palliata of Ennius. AMBRACIA, CAUPUNCULA, PANCRATIASTES TU 3. What modern slang word, deriving from the Latin word for “four,” is defined by the Urban Dictionary as “crew, posse, gang; an informal group of individuals with a common identity and a sense of solidarity”? SQUAD B1: What modern slang word, deriving from a Latin word meaning “bend”, means “subtly or not-so-subtly showing off your accomplishments or possessions”? FLEX B2: What modern slang word, deriving from a Latin word meaning “end” and defined by the Urban Dictionary as “a word that modern teens and preteens say even though they have absolutely no idea what it really means,” roughly means “getting around issues or problems in a slick or easy way”? FINESSE TU 4. Who elevated his son Diadumenianus to the rank of Caesar when he became emperor in 217 A.D.? MACRINUS B1: Where did Macrinus arrange for the assisination of Caracalla? CARRHAE/EDESSA B2: What was the name of the person who actually did the stabbing of Caracalla? JULIUS MARTIALIS TU 5. -
2009 Njcl Certamen Advanced Division Round One
2009 NJCL CERTAMEN ADVANCED DIVISION ROUND ONE 1. Quid Anglicē significat “spūma”? FOAM, FROTH, SALIVA B1: Quid Anglicē significat “sitis”? THIRST B2: Quid Anglicē significat “porrigere”? (I / TO) REACH, STRETCH 2. Who, in an attempt to recover his throne, sought refuge with his son-in-law Mamilius Octavius of Tusculum around 506 BC? (TARQUINIUS) SUPERBUS B1: At whose court did Tarquinius Superbus die? ARISTODEMUS B2: Of what city in Magna Graecia was Aristodemus the strategos? CUMAE 3. What author, in a parody of Plato’s Symposium, wrote “tamen, inquit Trimalchiō, quid habuistis in cēnā”? (GAIUS’/TITUS) PETRONIUS (ARBITER) B1: The Satyricon is classified as a Menippean satire. What does this mean? A SATIRE CONTAINING (A MIXTURE OF) BOTH PROSE & POETRY B2: What other man, with whom Trimalchio discusses the Sibyl of Cumae, werewolves, and witches, accompanies Encolpius and Giton on their journey? AGAMEMNON 4. What Latin abbreviation is often used to refer to a person’s résumé? C.V. B1: What Latin abbreviation is used to instruct the reader to look at something that has been mentioned previously? V.S. B2: What Latin abbreviation is used to instruct the reader to look at something that is about to be mentioned? V.I. 5. What derivative of the Latin word meaning “goat” is a type of public transportation very common in cities such as New York and Los Angeles? (TAXI)CAB B1: What derivative of the Latin word meaning “joint” means “to utter or pronounce clearly and distinctly”? ARTICULATE B2: What derivative of the Latin word meaning “footprint” means “to observe or study by close examination and systematic inquiry”? INVESTIGATE 6.