Ovid's Elegies
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Long Branch Daily Record
LONG BRANCH DAILY RECORD. VOL. 11-NUMBER 21. LONG BRANCH, N. J., TUHRSDAY, JANUARY, 25 1912. 8 PAGES PRICE TWO CENTS cum RESCUES FAST TIME MADE ALL READY FOR $500 VERDICT AGAINST TOME TWO GIRL SKATERS BY ICE YACHTS HERE BIG MASK BULL DRIVER WHOSE HORSE CONTEST TOMORROW William Archer Hears Cries as Plans Completed For J7th An- Crack Fliers of Clubs to Con- They Crash Through Ice at AND AT RED BANK nual of Hebrew Burial RAN DOWN PATTON test For Stellar Trophy of Goose Neck Drawbridge. Ground Association. Racing Season. William Archer, who resick-a ID Clarel Sails Over 15 Mile Course In 26.04 Mak- The committees for the seventeenth $5,000 Suit Against Mr. Fanshawe Knocked Out After a conference with the South- aparimeuta over the Truax hardware annual masquerade ball and leap year Shrewsbury and Long Branch Boat store, on Broadway, thla city, rescued dance of the LOUR Branch Hebron* wnl Yacht Clube, the Board of Trade's two «lrls from drowning near the ing New Record For Long Branch Club, f'ree Burial Ground Association are on Ground That Driver Wasn't Acting As special committed on ice yacht trophy, * Goose Neck draw bridge yesterday af- fant completing their respective du- of which John O. Sexton Is chairman, " teraoon. Archer toad' been clamming While The Daisy Makes Ten Miles ties. Judges- will later be aetected Employee — Ocean Grove Shooter Doesn't deefcted to emit tho first race for tho (hiring the day, and was on his way to make a ward » from among t hi- mcr* season of 1B1* for the $100 cup. -
Mihi Blanditias Dixit: the Puella As Poet in Amores 3.7 in Amores 3.7, Ovid
Mihi blanditias dixit: the Puella as Poet in Amores 3.7 In Amores 3.7, Ovid describes the lover-poet in a difficult position: he has been unable to achieve an erection while trying sleep with a beautiful puella. The poem describes her repeated attempts to excite him and their mutual frustration at her lack of success, until she finally scolds him and walks away. I argue that Ovid describes the unnamed puella as a failed elegist in this poem, and that her failure is part of a broader pattern of disengagement from elegy in the third book of the Amores. Amores 3.7 has received relatively little scholarly attention, as only four articles focus on this poem. Baeza Angulo compares Amores 3.7 with other ancient literature on impotence (1989), Mauger-Plichon examines the poem alongside parts of the Satyrica and Maximianus 5 (1999), and Holzberg argues that Ovid almost breaches the propriety of elegiac diction in Amores 3.7 (2009). I build on Sharrock’s 1995 article, which presents a metapoetic reading of the poem: that Ovid blurs the line between sex and poetry in Amores 3.7, allowing the reader to interpret the lover-poet’s impotence not just as literal, but also as poetic. I focus on the puella’s role as a poet, rather than on the amator, and therefore also engage with Wyke’s (e.g. 1987) and James’ (2003) discussions of the elegiac mistress as a poetic fiction, as well as Keith’s examination of elegiac language used to describe Corinna in Amores 1.5 (1994). -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
Allusions to Archaic Elegy in the Epigrams of Leonidas of Tarentum Alissa A
Allusions to Archaic Elegy in the Epigrams of Leonidas of Tarentum Alissa A. Vaillancourt (The Graduate Center of The City University of New York) Within the epigrams of the Greek Anthology, some scholars have identified a few elegiac elements. For example, in his article on the influence of archaic elegy on sympotic epigrams, Bowie proposes that Asclepiades, Callimachus, Hedylus and Posidippus “see themselves as in some respects reworking the early elegiac tradition.”1 I would like to add Leonidas of Tarentum to this list. In their commentary on Leonidas of Tarentum, Gow and Page identify two epigrams by Leonidas as elegies: 11 GP =AP 7.440 and 71 GP =AP 7.466.2 Using these elegies as my starting point, I will investigate how the poetry of Leonidas of Tarentum engages archaic elegy. I will begin by investigating the influence of archaic elegy on Leonidas with particular focus on the works of Mimnermus and Tyrtaeus. Through this investigation, I will show not only that the qualities of lamentation in archaic elegy influence Leonidas of Tarentum, but also that the didacticism that is common in archaic elegy is being refashioned by Leonidas to suit his own collection of epigrams. Leonidas applies elegiac didacticism in some of his poems in order to emphasize his own philosophy, which stresses the moribund nature of life. He refashions the elegy of Tyrtaeus by defining a sort of virtue in his epigrams, but instead of relating this virtue to valor earned through polemic pursuits for Sparta, Leonidas presents the virtue of the traveler, who is alone, jaded, and ready to embrace death. -
The Horse-Breeder's Guide and Hand Book
LIBRAKT UNIVERSITY^' PENNSYLVANIA FAIRMAN ROGERS COLLECTION ON HORSEMANSHIP (fop^ U Digitized by the Internet Archive in 2009 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/horsebreedersguiOObruc TSIE HORSE-BREEDER'S GUIDE HAND BOOK. EMBRACING ONE HUNDRED TABULATED PEDIGREES OF THE PRIN- CIPAL SIRES, WITH FULL PERFORMANCES OF EACH AND BEST OF THEIR GET, COVERING THE SEASON OF 1883, WITH A FEW OF THE DISTINGUISHED DEAD ONES. By S. D. BRUCE, A.i3.th.or of tlie Ainerican. Stud Boole. PUBLISHED AT Office op TURF, FIELD AND FARM, o9 & 41 Park Row. 1883. NEW BOLTON CSNT&R Co 2, Entered, according to Act of Congress, in the year 1883, By S. D. Bruce, In the Office of the Librarian of Congress, at Washington, D. C. INDEX c^ Stallions Covering in 1SS3, ^.^ WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, ALPHABETICALLY ARRANGED, PAGES 1 TO 181, INCLUSIVE. PART SECOISTD. DEAD SIRES WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, PAGES 184 TO 205, INCLUSIVE, ALPHA- BETICALLY ARRANGED. Index to Sires of Stallions described and tabulated in tliis volume. PAGE. Abd-el-Kader Sire of Algerine 5 Adventurer Blythwood 23 Alarm Himvar 75 Artillery Kyrle Daly 97 Australian Baden Baden 11 Fellowcraft 47 Han-v O'Fallon 71 Spendthrift 147 Springbok 149 Wilful 177 Wildidle 179 Beadsman Saxon 143 Bel Demonio. Fechter 45 Billet Elias Lawrence ' 37 Volturno 171 Blair Athol. Glen Athol 53 Highlander 73 Stonehege 151 Bonnie Scotland Bramble 25 Luke Blackburn 109 Plenipo 129 Boston Lexington 199 Breadalbane. Ill-Used 85 Citadel Gleuelg... -
ELEGY 397 ( ); K. Strecker, “Leoninische Hexameter Und
ELEGY 397 (); K. Strecker, “Leoninische Hexameter und speare, Two Gentlemen of Verona) can be recommended Pentameter in . Jahrhundert,” Neues Archiv für ältere to a would-be seducer. T is composite understanding deutsche Geschichtskunde (); C. M. Bowra, Early of the genre, however, is never fully worked out and Greek Elegists, d ed. (); P. F r i e d l ä n d e r , Epigram- gradually fades. mata: Greek Inscriptions in Verse from the Beginnings to T e most important cl. models for the later devel. of the Persian Wars ( ); M. Platnauer, Latin Elegiac Verse elegy are *pastoral: the lament for Daphnis (who died (); L. P. Wilkinson, Golden Latin Artistry ( ); of love) by T eocritus, the elegy for Adonis attributed T. G. Rosenmeyer, “Elegiac and Elegos,” California to Bion, the elegy on Bion attributed to Moschus, and Studies in Classical Antiquity (); D. Ross, Style another lament for Daphnis in the fi fth *eclogue of and Tradition in Catullus ( ); M. L. West, Studies in Virgil. All are stylized and mythic, with hints of ritual; Greek Elegy and Iambus ( ); A.W.H. Adkins, Poetic the fi rst three are punctuated by incantatory *refrains. Craft in the Early Greek Elegists ( ); R. M. Marina T e elegies on Daphnis are staged performances within Sáez, La métrica de los epigramas de Marcial (). an otherwise casual setting. Nonhuman elements of the T.V.F. BROGAN; A. T. COLE pastoral world are enlisted in the mourning: nymphs, satyrs, the landscape itself. In Virgil, the song of grief is E L E G I A C S T A N Z A , elegiac quatrain, heroic qua- paired with one celebrating the dead man’s apotheosis; train. -
JOSEPH WILLIAM DAY Emeritus Professor of Classics ADDRESS
JOSEPH WILLIAM DAY Emeritus Professor of Classics ADDRESS Department of Classics Office tel.: (765) 361-6348 Wabash College Mobile tel.: (765) 918-2389 Crawfordsville, IN 47933 Fax: (765) 361-6470 E-Mail: [email protected] INTERESTS General & teaching: Greek and Latin languages and literatures Greek religion Ancient history, including social and cultural history Ancient sport and athletics Greek art and archaeology Research: Greek metrical inscriptions, the inscribed objects and their contexts, and the ancient reception of each Links among early Greek poetry, religion, art, and society Aspects of Byzantine culture and continuities in the Hellenic tradition Athenian popular history EDUCATION Gonzaga University, B.A. in Classics (1970, summa). Stanford University, M.A. (1973), Ph.D. (1978) in Classics. EMPLOYMENT and TEACHING American School of Classical Studies at Athens Elizabeth Whitehead Visiting Professor, 2011-2012 Seminar: inscribed Greek epigram Wabash College Award: 2010 McLain-McTurnan-Arnold Award for Excellence in Teaching. Rank: • Assistant Professor, F1983, 1985-1989 • Associate Professor, 1989-1999 • Professor, 1999-2011 • Emeritus Professor, 2011- Courses taught: • Greek: all levels, frequently; advanced includes Classical tragedy, comedy, history, oratory, philosophy, New Testament, Byzantine historians • Latin: intermediate (3 times); advanced many times, including historians, comedians, Age of Caesar, Age of Nero, Age of the Flavians, Latin sources for Roman history 1 • History: Greek survey (alternate years); Roman survey -
Abstract Old English Elegies: Language and Genre
ABSTRACT OLD ENGLISH ELEGIES: LANGUAGE AND GENRE Stephanie Opfer, PhD Department of English Northern Illinois University, 2017 Dr. Susan E. Deskis, Director The Old English elegies include a group of poems found in the Exeter Book manuscript that have traditionally been treated as a single genre due to their general sense of lament – The Wanderer, The Seafarer, The Riming Poem, Deor, Wulf and Eadwacer, The Wife’s Lament, Resignation, Riddle 60, The Husband’s Message, and The Ruin. In this study, I conduct a linguistic stylistic analysis of all ten poems using systemic functional linguistics (SFL) and a variety of computational and linguistic tools: Lexomics, Voyant, and Microsoft Excel. My results focus on three characteristics of the poetry: (1) the similarity of the linguistic style within the poems, measured by Lexomics; (2) an oscillation between first- and third-person clausal Themes, measured using SFL analysis; and (3) themes in the lexical categorization, measured through detailed lexical analysis. In the end, my methodology creates a new and more nuanced definition of the elegy: a relatively short reflective or dramatic poem, similar in style and content to other elegiac poems, that alternates between first- and third-person perspectives and includes (1) themes of exile; (2) imagery of water or the sea, the earth, and/or the weather; and (3) words expressing both joy and sorrow. Ultimately, I argue for a recategorization of only five poems as “Old English elegies”: The Wanderer, The Seafarer, Wulf and Eadwacer, The Wife’s Lament, and The Riming Poem. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2017 OLD ENGLISH ELEGIES: LANGUAGE AND GENRE BY STEPHANIE OPFER ©2017 Stephanie Opfer A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Doctoral Director: Dr. -
2018 Media Guide NYRA.Com 1 FIRST RUNNING the First Running of the Belmont Stakes in 1867 at Jerome Park Took Place on a Thursday
2018 Media Guide NYRA.com 1 FIRST RUNNING The first running of the Belmont Stakes in 1867 at Jerome Park took place on a Thursday. The race was 1 5/8 miles long and the conditions included “$200 each; half forfeit, and $1,500-added. The second to receive $300, and an English racing saddle, made by Merry, of St. James TABLE OF Street, London, to be presented by Mr. Duncan.” OLDEST TRIPLE CROWN EVENT CONTENTS The Belmont Stakes, first run in 1867, is the oldest of the Triple Crown events. It predates the Preakness Stakes (first run in 1873) by six years and the Kentucky Derby (first run in 1875) by eight. Aristides, the winner of the first Kentucky Derby, ran second in the 1875 Belmont behind winner Calvin. RECORDS AND TRADITIONS . 4 Preakness-Belmont Double . 9 FOURTH OLDEST IN NORTH AMERICA Oldest Triple Crown Race and Other Historical Events. 4 Belmont Stakes Tripped Up 19 Who Tried for Triple Crown . 9 The Belmont Stakes, first run in 1867, is one of the oldest stakes races in North America. The Phoenix Stakes at Keeneland was Lowest/Highest Purses . .4 How Kentucky Derby/Preakness Winners Ran in the Belmont. .10 first run in 1831, the Queens Plate in Canada had its inaugural in 1860, and the Travers started at Saratoga in 1864. However, the Belmont, Smallest Winning Margins . 5 RUNNERS . .11 which will be run for the 150th time in 2018, is third to the Phoenix (166th running in 2018) and Queen’s Plate (159th running in 2018) in Largest Winning Margins . -
Fortasse Requires: Sapphic and Terentian Intertextuality in Catullus 85
fortasse requires: Sapphic and Terentian Intertextuality in Catullus 85 Catullus’ elegiac poems provide a foundation for Roman elegy, a literary genre that thrives for the brief period between Catullus and Ovid (c. 60-10 BCE), a time that saw the upheaval of the Republic and the establishment of an Empire. The identification of influence and intertextuality between Catullus and older Greek poets, such as Sappho and Callimachus, has been vital to our understanding of this intentionally subversive and egocentric genre. The narrative Ego, a first person narrative, is one of the most notorious markers of Latin elegy. Paul Allen Miller (2002) argues that Catullus establishes this ‘uniquely interiorized voice’ in Latin literature. To put this view in a broader perspective, we must also consider Ellen Greene’s (1999) claim that the Catullan Ego is merely a masculinized version of the Sapphic Ego. To add another layer in the development of this poetic voice, Alison Sharrock (2013) observes that Terence pioneered Sapphic sentiment and style in Latin long before the Roman elegists. The influence of New Comedy on Catullus has been particularly well observed. New Comedy provides a Latin precedent for elegiac characters such as the domina, the servus amoris, the exclusus amator, and the diues amator as well as topoi such as paraclausithyron and erotic military metaphors. David Konstan (1986) pinpoints Terence’s Eunuchus as particularly influential to Latin elegiac themes and characters. He identifies intertextuality between Terence’s Eunuchus and Catullus 109. He argues that in this poem Catullus emulates Phaedria’s desire for honesty from his promiscuous lover. -
Elegy and Politics in a Time of Revolution Review | the Roman Poetry of Love | Elegy and Politics in a Time of Revolution
Review: The Roman Poetry of Love: Elegy and Politics in a Time of Revolution Review | The Roman Poetry of Love | Elegy and Politics in a Time of Revolution KYLE CONRAU-LEWIS distinction between poems of different meters. Spentzou argues that Catullus is politically Efrossini Spentzou, The Roman Poetry of Love: Elegy and discontent: the start of his career in Bithynia Politics in a Time of Revolution. Classical world. London; New York: Bloomsbury Academic, 2013. xiv, 107 p. $26.99. brought no profit (Poem 28) and successful Roman ISBN 9781780932040. politicians were milking provinces for profit (Poem 29). This resulted in Catullus’ highly aggressive frossini Spentzou’s monograph The Roman attacks on high-profile public figures like Caesar and Poetry of Love provides a useful overview of Mamurra (Poem 57), maligning Roman masculinity E elegiac poetry from the Late Republic to the and politics. In Poem 57 Caesar and Mamurra are Augustan period. It is a work primarily intended for cinaedi and pathici and in Poem 29 Mamurra is said students, as Spentzou explains, ‘I address primarily, to dominate Romulus who is the cinaedus. Catullus but not exclusively, those for whom love elegy is a presents the political winners of Roman politics as new discovery, and in doing so, I explore why, I ‘perverted and fully exposed to sexual violation’ (9). think, we should read poetry two millennia old and Consequently in reaction to this corrupt political why it continues to speak, powerfully, to a world not world, Catullus retreats to explore a feminised self so different as people might imagine’ (xiv). -
Hair and Power in Ovidian Love Elegy; a Discussion of Feminine Dominance and the Hair Apparent
University of Mary Washington Eagle Scholar Student Research Submissions Spring 4-29-2020 Hair and Power in Ovidian Love Elegy; A Discussion of Feminine Dominance and the Hair Apparent Lydia Eisenberg Follow this and additional works at: https://scholar.umw.edu/student_research Part of the Classics Commons Recommended Citation Eisenberg, Lydia, "Hair and Power in Ovidian Love Elegy; A Discussion of Feminine Dominance and the Hair Apparent" (2020). Student Research Submissions. 340. https://scholar.umw.edu/student_research/340 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. HAIR AND POWER IN OVIDIAN LOVE ELEGY A DISCUSSION OF FEMININE DOMINANCE AND THE HAIR APPARENT A THESIS BY LYDIA G. EISENBERG SUBMITTED ON APRIL 29, 2020 IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR DEPARTMENTAL HONORS IN CLASSICS ___________________ ___________________ ___________________ Liane Houghtalin Angela Pitts Joseph Romero Abstract: When considering the love elegy of Ovid, there are multiple cases in which love, beauty, or infatuation with a woman is expressed through visual descriptions of her hair. In the Amores and Ars Amatoria, these descriptions of hair support a seemingly subjective view of beauty when compared to current hairstyle trends at the time. As a result, this view of feminine beauty suggests that the woman holds the power within the amorous relationship described. However, the nature of the hair description reduces Ovid’s view of feminine beauty to an objective one, revealing a disingenuous view of feminine power and therefore supporting Ovid’s claim to masculine dominance in the relationship.