"The Argonautica" of Apollonius Rhodius
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The Humour of Homer
The Humour of Homer Samuel Butler A lecture delivered at the Working Men's College, Great Ormond Street 30th January, 1892 The first of the two great poems commonly ascribed to Homer is called the Iliad|a title which we may be sure was not given it by the author. It professes to treat of a quarrel between Agamemnon and Achilles that broke out while the Greeks were besieging the city of Troy, and it does, indeed, deal largely with the consequences of this quarrel; whether, however, the ostensible subject did not conceal another that was nearer the poet's heart| I mean the last days, death, and burial of Hector|is a point that I cannot determine. Nor yet can I determine how much of the Iliadas we now have it is by Homer, and how much by a later writer or writers. This is a very vexed question, but I myself believe the Iliadto be entirely by a single poet. The second poem commonly ascribed to the same author is called the Odyssey. It deals with the adventures of Ulysses during his ten years of wandering after Troy had fallen. These two works have of late years been believed to be by different authors. The Iliadis now generally held to be the older work by some one or two hundred years. The leading ideas of the Iliadare love, war, and plunder, though this last is less insisted on than the other two. The key-note is struck with a woman's charms, and a quarrel among men for their possession. -
The Iliad Homer
The Iliad Homer BOOK I. How Agamemnon and Achilles fell out at the siege of Troy; and Achilles withdrew himself from battle, and won from Zeus a pledge that his wrong should be avenged on Agamemnon and the Achaians. Sing, goddess, the wrath of Achilles Peleus’ son, the ruinous wrath that brought on the Achaians woes innumerable, and hurled down into Hades many strong souls of heroes, and gave their bodies to be a prey to dogs and all winged fowls; and so the counsel of Zeus wrought out its accomplishment from the day when first strife parted Atreides king of men and noble Achilles. Who among the gods set the twain at strife and variance? Apollo, the son of Leto and of Zeus; for he in anger at the king sent a sore plague upon the host, so that the folk began to perish, because Atreides had done dishonour to Chryses the priest. For the priest had come to the Achaians’ fleet ships to win his daughter’s freedom, and brought a ransom beyond telling; and bare in his hands the fillet of Apollo the Far- darter upon a golden staff; and made his prayer unto all the Achaians, and most of all to the two sons of Atreus, orderers of the host; “Ye sons of Atreus and all ye well-greaved Achaians, now may the gods that dwell in the mansions of Olympus grant you to lay waste the city of Priam, and to fare happily homeward; only set ye my dear child free, and accept the ransom in reverence to the son of Zeus, far-darting Apollo.” The Iliad Homer Then all the other Achaians cried assent, to reverence the priest and accept his goodly ransom; yet the thing pleased not the heart of Agamemnon son of Atreus, but he roughly sent him away, and laid stern charge upon him, saying: “Let me not find thee, old man, amid the hollow ships, whether tarrying now or returning again hereafter, lest the staff and fillet of the god avail thee naught. -
Sample Odyssey Passage
The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country. -
The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
Excerpt from Euripides' Herakles
Excerpt from Euripides’ Herakles (lines 1189-1426) The action up until now: The goddess Hera has sent Madness upon Herakles. Madness has driven Herakles to kill his wife and his children. He mistook them for his enemies, being under the influence of Madness. Herakles is just coming out of the frenzied state he was in, and beginning to realise what he has done. He is contemplating suicide. Suddenly, Theseus of Athens appears on the scene. After a discussion with Herakles’ father Amphitryon, Theseus learns what has happened. At this moment, Herakles is lying in among his dead family members, ashamed of his actions, not wanting Theseus to see his face. I have included some lines here of the discussion between Theseus and Amphitryon, that will lead into the essential discussion between Herakles and Theseus. Theseus What do you mean? What has he done? Amphitryon Slain them in a wild fit of frenzy with arrows dipped in the venom of the hundred-headed hydra. Theseus This is Hera's work; but who lies there among the dead, old man? Amphitryon My son, my own enduring son, that marched with gods to Phlegra's plain, there to battle with giants and slay them, warrior that he was. Theseus Ah, ah! whose fortune was ever so cursed as his? Amphitryon Never will you find another mortal that has suffered more or been driven harder. Theseus Why does he veil his head, poor wretch, in his robe? Amphitryon He is ashamed to meet your eye; his kinsman's kind intent and his children's blood make him abashed. -
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). -
Plinius Senior Naturalis Historia Liber V
PLINIUS SENIOR NATURALIS HISTORIA LIBER V 1 Africam Graeci Libyam appellavere et mare ante eam Libycum; Aegyptio finitur, nec alia pars terrarum pauciores recipit sinus, longe ab occidente litorum obliquo spatio. populorum eius oppidorumque nomina vel maxime sunt ineffabilia praeterquam ipsorum linguis, et alias castella ferme inhabitant. 2 Principio terrarum Mauretaniae appellantur, usque ad C. Caesarem Germanici filium regna, saevitia eius in duas divisae provincias. promunturium oceani extumum Ampelusia nominatur a Graecis. oppida fuere Lissa et Cottae ultra columnas Herculis, nunc est Tingi, quondam ab Antaeo conditum, postea a Claudio Caesare, cum coloniam faceret, appellatum Traducta Iulia. abest a Baelone oppido Baeticae proximo traiectu XXX. ab eo XXV in ora oceani colonia Augusti Iulia Constantia Zulil, regum dicioni exempta et iura in Baeticam petere iussa. ab ea XXXV colonia a Claudio Caesare facta Lixos, vel fabulosissime antiquis narrata: 3 ibi regia Antaei certamenque cum Hercule et Hesperidum horti. adfunditur autem aestuarium e mari flexuoso meatu, in quo dracones custodiae instar fuisse nunc interpretantur. amplectitur intra se insulam, quam solam e vicino tractu aliquanto excelsiore non tamen aestus maris inundant. exstat in ea et ara Herculis nec praeter oleastros aliud ex narrato illo aurifero nemore. 4 minus profecto mirentur portentosa Graeciae mendacia de his et amne Lixo prodita qui cogitent nostros nuperque paulo minus monstrifica quaedam de iisdem tradidisse, praevalidam hanc urbem maioremque Magna Carthagine, praeterea ex adverso eius sitam et prope inmenso tractu ab Tingi, quaeque alia Cornelius Nepos avidissime credidit. 5 ab Lixo XL in mediterraneo altera Augusta colonia est Babba, Iulia Campestris appellata, et tertia Banasa LXXV p., Valentia cognominata. -
The Consolations of Death in Ancient Greek Literature
$B 44 125 The Consolations of Death In Ancient Greek Literature By SISTER MARY EVARISTUS, MA. of THE SISTERS OF CHABITY, HALIFAX, N. S. A DISSERTATION Submitted to the Catholic Sisters College of the Catholic University of America in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/consolationsofdeOOmorarich The Consolations of Death In Ancient Greek Literature SISTER MARY EVARISTUS, M.A. of THE SISTERS OF CHARITY, HALIFAX, N. S. A DISSERTATION Submitted to the Catholic Sisters College of the Cathoh University of America in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy NA.ICXAI SA'.TAL PICS' 'MC , WA'iUNOTON, D. C. TABLE OF CONTENTS Page Introduction 7 CHAPTER I The Inevitableness of Death 10 Universality of death a motive for consolation. Views of death in Homer. Homeric epithets for death. No power can ward off death. Consolation afforded by the thought that it cannot come before the appointed time. Inevitableness of death as depicted in the Lyric Poets, * Tragedians, Plato, Lysias, Apollonius Rhodius, ps.- Plutarch, Plutarch. CHAPTER II Others Have Had to Die 19 Treatment of t&kos in Homer, ov <roi /xopoj. Tragic Poets, Plutarch, ps.-Plutarch. Examples of those who have borne sufferings nobly. Extension of t&kos. Even better men have died. CHAPTER III Death the Payment of a Debt to Nature 26 Should not complain when loan is claimed. Simonides of Ceos. Euripides. Plato. ps.-Plutarch. CHAPTER IV Death Not to be Regarded as Unexpected 28 Nothing ought to appear unexpected. -
2014.Axx Barbantani, Mother of Snakes and Kings
Histos () – MOTHER OF SNAKES AND KINGS: APOLLONIUS RHODIUS’ FOUNDATION OF ALEXANDRIA* Abstract: Of all the lost Foundation Poems attributed to Apollonius Rhodius, active at the court of Ptolemy II, the Ktisis of Alexandria must have been the most important for his contemporaries, and surely is the most intriguing for modern scholars of the Hellenistic world. Unfortunately, only a brief mention of this epyllion survives, in a scholion to Nicander’s Theriaka , relating to the birth of poisonous snakes from the severed head of Medusa, carried by Perseus over Libya . Deadly and benign serpents belong to a multi- cultural symbolic imagery intertwined with the Greek, Macedonian, Egyptian and Jewish origins of the city. This paper explores the possible connections of the only episode preserved from Apollonius’ Ktisis with the most ancient known traditions on the foundation of Alexandria —possibly even created at the time of Alexander or of the first Lagid dynasts, Ptolemy I and II. And I wished he would come back, my snake. For he seemed to me again like a king, Like a king in exile, uncrowned in the underworld, Now due to be crowned again. D. H. Lawrence , Snake (Taormina, ) Introduction pollonius of Rhodes is credited with a certain number of Foundation poems in hexameters, namely on Alexandria, Naucratis, Caunus, ACnidus, Rhodes and, possibly, Lesbos. The epic poem Argonautica is Apollonius’ only work which has survived through direct tradition, and the only one mentioned in the biographical sources, while his Κτίσεις are only known through short quotations and summaries by different ancient authors * The research on Apollonius’ Κτίσεις began in , when I was asked to edit the fragments for FGrHist IV, ed. -
The Waterway of Hellespont and Bosporus: the Origin of the Names and Early Greek Haplology
The Waterway of Hellespont and Bosporus: the Origin of the Names and Early Greek Haplology Dedicated to Henry and Renee Kahane* DEMETRIUS J. GEORGACAS ABBREVIATIONS AND BIBLIOGRAPHY 1. A few abbreviations are listed: AJA = American Journal of Archaeology. AJP = American Journal of Philology (The Johns Hopkins Press, Baltimore, Md.). BB = Bezzenbergers Beitriige zur Kunde der indogermanischen Sprachen. BNF = Beitriige zur Namenforschung (Heidelberg). OGL = Oorpus Glossariorum Latinorum, ed. G. Goetz. 7 vols. Lipsiae, 1888-1903. Chantraine, Dict. etym. = P. Chantraine, Dictionnaire etymologique de la langue grecque. Histoire des mots. 2 vols: A-K. Paris, 1968, 1970. Eberts RLV = M. Ebert (ed.), Reallexikon der Vorgeschichte. 16 vols. Berlin, 1924-32. EBr = Encyclopaedia Britannica. 30 vols. Chicago, 1970. EEBE = 'E:rccr'YJel~ t:ET:ateeta~ Bv~avnvwv E:rcovowv (Athens). EEC/JE = 'E:rcuJT'YJfhOVtUn ' E:rccrrJel~ C/JtAOaocptufj~ EXOAfj~ EIsl = The Encyclopaedia of Islam (Leiden and London) 1 (1960)-. Frisk, GEJV = H. Frisk, Griechisches etymologisches Worterbuch. 2 vols. Heidelberg, 1954 to 1970. GEL = Liddell-Scott-Jones, A Greek-English Lexicon. Oxford, 1925-40. A Supplement, 1968. GaM = Geographi Graeci Minores, ed. C. Miiller. GLM = Geographi Latini Minores, ed. A. Riese. GR = Geographical Review (New York). GZ = Geographische Zeitschrift (Berlin). IF = Indogermanische Forschungen (Berlin). 10 = Inscriptiones Graecae (Berlin). LB = Linguistique Balkanique (Sofia). * A summary of this paper was read at the meeting of the Linguistic Circle of Manitoba and North Dakota on 24 October 1970. My thanks go to Prof. Edmund Berry of the Univ. of Manitoba for reading a draft of the present study and for stylistic and other suggestions, and to the Editor of Names, Dr. -
English I Summer Reading the Odyssey by Homer (Trans
English I Summer Reading the Odyssey by Homer (trans. Robert Fagles, Penguin Classics) READ the Odyssey. Then answer all questions on a separate piece of paper, and be prepared for a quiz the first week of school. Even though the highlighted questions have been answered for you, you are still responsible for knowing the information. The numbers in parentheses indicate the book and the line where the answer can be found, i.e., 1.71 is book/chapter one, line 71). Books 1-4 1. What is the Greek word that is used to describe Odysseus? [ANSWER: from review article posted—polutropos ] 2. Give two examples of how polutropos could be translated into English. [ANSWER: much- turned, much-turning, wily, resourceful, complicated, contradictory. Robert Fagles translated it “man of twists and turns,” which carries a rich meaning with it, a man of many talents and interests, richly blessed and oft cursed, good at times, not so good other times.] 3. How does the poem start? [ANSWER: en medias res—in the middle of it all; that’s how the Greeks always do their storytelling.] Why start in the middle of the story? 4. At what time in Odysseus’s adventures abroad are we when the poem starts? (Remember, he will spend twenty years abroad: 10 years fighting at Troy and 10 years wandering.) 5. How are we left feeling about the suitors? Name one of them. 6. Orestus is ______________________’s son. He killed _____________________. [ANSWER: Agamemnon; Orestus killed Aegisthus.] Be sure to check out the fantastic index of characters in the back of the book. -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013).