Eduqas Latin GCSE Prescribed Material for Component 2: Latin
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The Idea of the Labyrinth
·THE IDEA OF · THE LABYRINTH · THE IDEA OF · THE LABYRINTH from Classical Antiquity through the Middle Ages Penelope Reed Doob CORNELL UNIVERSITY PRESS ITHACA AND LONDON Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 1990 by Cornell University First printing, Cornell Paperbacks, 1992 Second paperback printing 2019 All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-2393-2 (cloth: alk. paper) ISBN 978-1-5017-3845-6 (pbk.: alk. paper) ISBN 978-1-5017-3846-3 (pdf) ISBN 978-1-5017-3847-0 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress An open access (OA) ebook edition of this title is available under the following Creative Commons license: Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/ by- nc-nd/4.0/. For more information about Cornell University Press’s OA program or to download our OA titles, visit cornellopen.org. Jacket illustration: Photograph courtesy of the Soprintendenza Archeologica, Milan. For GrahamEric Parker worthy companion in multiplicitous mazes and in memory of JudsonBoyce Allen and Constantin Patsalas Contents List of Plates lX Acknowledgments: Four Labyrinths xi Abbreviations XVll Introduction: Charting the Maze 1 The Cretan Labyrinth Myth 11 PART ONE THE LABYRINTH IN THE CLASSICAL AND EARLY CHRISTIAN PERIODS 1. -
Virgil's Pier Group
Virgil’s Pier Group In this paper I argue that the ship race of Aeneid 5 presents a metapoetic commentary whereby Virgil re-validates heroic epic and announces the principal intertexts of his middle triad. The games as a whole are rooted in transparent allusion to Iliad 23 and have, accordingly, drawn somewhat less critical attention than books 4 and 6. For Heinze (121-36), the agonistic scenes exemplify Virgil’s artistic principles for reshaping Homeric material. Similarly, Otis (41- 61) emphasized Virgilian characterization. Putnam (64-104) reads the games in conjunction with the Palinurus episode as a reflection on heroic sacrifice. Galinsky has emphasized the degree to which the games are interwoven with themes and diction in both book 5 and the poem as a whole. Harris, Briggs, and Feldherr have explored historical elements and Augustan political themes within the games. Farrell attempts to bring synthesis to these views by reading the games through a lens of parenthood themes. A critical observation remains missing. Water and nautical imagery are well-established metaphors for poetry and poiesis. The association is attested as early as Pindar (e.g. P. 10.51-4). In regard to neoteric and Augustan poetics, it is sufficient to recall the prominence of water in Callimachus (Ap. 105-113). This same topos lies at the foundation of Catullus 64 and appears within both the Georgics and Horace’s Odes (cf. Harrison). The agones of Aeneid 5 would be a natural moment for such motifs. Virgil introduces all four ships as equals (114). Nevertheless, the Chimaera is conspicuous for its bulk and its three-fold oars (118-20). -