The Faith of Achates: Finding Aeneas' Other
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HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Vergil's Nisus and the Language of Self-Sacrifice In
Vergil’s Nisus and the Language of Self-Sacrifice in Paradise Lost LEAH WHITTINGTON Princeton University When the Son of God offers to die for mankind in book 3 of Paradise Lost (1667), readers who have been tempted to join the devil’s party for the first two books of the poem confront an unsettling dramatic scene: the assembly in heaven is staged as a mirror image of the demonic council at Pandemonium. The listening host suddenly grows quiet, and a solitary hero figure emerges out of the silence to take on the burden of raising the collective fortune. Placed beside the Son’s promise to atone for man’s sin with his death, Satan’s exploratory mission to earth comes into focus as a fallen reflection of self-sacrifice, a self-aggrandiz- ing perversion of the poem’s heroic ideal now articulated in the Son. This moment of internal self-reference has often been identified as part of Milton’s didactic strategy to confront the reader with proof of his own fallenness,1 but it is less often recognized that the Son’s speech to the angelic host makes use of an allusion that gives it a central place in the story of Milton’s engagement with classical epic.2 When the Son 1. See Stanley Fish, Surprised by Sin (Berkeley: University of California Press, 1971). Fish famously argues that the heroic portrayal of Satan is part of a larger narrative strategy by which Milton provokes the reader ‘‘with evidence of his corruption’’ and forces him ‘‘to refine his perceptions so that his understanding will be once more proportionable to truth’’ (xiii). -
Aeneid Vi Commentary
AENEID VI COMMENTARY They have finally arrived in Italy after 7 years. L 1 refers to A’s last farewell to Palinurus. P 147 Eucben Cumae – Cumae was the first Greek settlement in Italy and was founded by settlers from Chalcis in Eubaca. Western Land – Italy. 38-36 base of operations in navl war between Augustus and Pompey Sextus. Sibyl – the priestess of Apollo; Sibylla was a type – name for such oracular priestesses. The collection of her oracles known s the sibylline books played a very considerable part in Roman Religion; during Augustus’s reign they were transferred to the temple of Apollo on the Palatine. A told to consult Sibyl by Helenus Bk 3, Ancjises Bk 5. Can still visit Sibyl’s cave today. Daedalus – An Athenian craftsman/inventor helped Pasiphae wife of Minoo, King of Crete, to satisfy her love for the bull, a love which Venus, angered, had implanted in her. As a result of this the hybrid monster called the Minotaur was born to her; it was kept in a labyrinth built by Daedalus and fed on human sacrifices. After Daedalus had helped Theseus solve the maze, he was imprisoned but escaped by making himself wings and flying North to Cumae. Androgeos – A son of Minos demanded the payment of seven youths and seven maidens each year as a sacrifice to the Minotaur. Cnossos – the chief town of Crete. P 148 Princess Ariadne – daughter of Persiphae and Minos; she fell in love with Theseus, who killed the Minotaur and found his way out of the maze by the thread which Ariadne at Daedalus’ instigation gave him. -
Reading for Monday 4/23/12 History of Rome You Will Find in This Packet
Reading for Monday 4/23/12 A e History of Rome A You will find in this packet three different readings. 1) Augustus’ autobiography. which he had posted for all to read at the end of his life: the Res Gestae (“Deeds Accomplished”). 2) A few passages from Vergil’s Aeneid (the epic telling the story of Aeneas’ escape from Troy and journey West to found Rome. The passages from the Aeneid are A) prophecy of the glory of Rome told by Jupiter to Venus (Aeneas’ mother). B) A depiction of the prophetic scenes engraved on Aeneas’ shield by the god Vulcan. The most important part of this passage to read is the depiction of the Battle of Actium as portrayed on Aeneas’ shield. (I’ve marked the beginning of this bit on your handout). Of course Aeneas has no idea what is pictured because it is a scene from the future... Take a moment to consider how the Battle of Actium is portrayed by Vergil in this scene! C) In this scene, Aeneas goes down to the Underworld to see his father, Anchises, who has died. While there, Aeneas sees the pool of Romans waiting to be born. Anchises speaks and tells Aeneas about all of his descendants, pointing each of them out as they wait in line for their birth. 3) A passage from Horace’s “Song of the New Age”: Carmen Saeculare Important questions to ask yourself: Is this poetry propaganda? What do you take away about how Augustus wanted to be viewed, and what were some of the key themes that the poets keep repeating about Augustus or this new Golden Age? Le’,s The Au,qustan Age 195. -
Les Troyens Die Trojaner
Hector Berlioz (1803-1869) Hector Berlioz (* 11. Dezember 1803 in La Côte-Saint-André, Département Isère; † 8. März 1869 in Paris) Les Troyens Die Trojaner Grand opéra en cinq actes Große Oper in fünf Akten Paroles de Hector Berlioz, d’après les livres II et Text von Hector Berlioz nach Teil II und IV der IV de l’Énéide de Virgile Aeneis von Vergil (und nach William Shakespeare) Erstdruck Choudens, Paris (1885); Deutsch von Bernd Feuchtner NA Bärenreiter (1969/70) Wissenschaftliche Beratung Pascal Paul-Harang Personnages BESETZUNG Énée, héros troyen, fils de Vénus et d’Anchise Äneas (trojanischer Held, Sohn der Venus und (ténor) des Anchises) Ŕ Jugendlicher Heldentenor Chorèbe, jeune prince d’Asie, fiancé de Choröbus / Schatten des Choröbus (junger Fürst Cassandre (baryton) aus Asien, Verlobter der Kassandra) Ŕ Bariton Panthée, prêtre troyen, ami d’Énée (basse) Panthus (trojanischer Priester, Freund des Äneas) Ŕ Bass Narbal, ministre de Didon (basse) Narbal (Minister der Dido) Ŕ Bass Iopas, poète tyrien de la cour de Didon (ténor) Iopas (Dichter am Hof der Dido) Ŕ Tenor Ascagne, jeune fils d’Énée (15 ans) (soprano) Askanius (Sohn des Aeneas, 15 Jahre) Ŕ Sopran/Mezzosopran Cassandre, prophétesse troyenne, fille de Priam Kassandra / Schatten der Kassandra (trojanische (mezzo-soprano) Seherin, Tochter des Priamos) Ŕ Dramatischer Mezzosopran Didon, reine de Carthage, veuve de Sichée Dido (Königin von Karthago, Witwe des Fürsten prince de Tyr (mezzo-soprano) Sychäus von Tyros) Ŕ Dramatischer Sopran Anna, sœur de Didon (contralto) Anna (Schwester -
2017 Tsjcl Certamen Novice Division Round 1
2017 TSJCL CERTAMEN NOVICE DIVISION ROUND 1 TU 1 What mythological group was made up of Thalia, Terpsichore, and seven others? THE MUSES B1 Who was the mother of the Muses? MNEMOSYNE B2 In one story, the Muses were said to have been born when what creature touched the Helicon spring? PEGASUS TU 2 From what Latin verb with what meaning do we get the English words overt and aperture? APERIO = TO OPEN, UNCOVER, DISCLOSE B1 From what Latin verb with what meaning do we get the English words augment and auction? AUGEO = TO INCREASE B2 From what Latin verb with what meaning do we get the English word obedience? AUDIO = TO HEAR, LISTEN TO TU 3 For the verb capio, capere give the 3rd person, plural, future, active, indicative CAPIENT B1 Change capient to the future perfect CEPERINT B2 Change ceperint to the passive voice CAPTI ERUNT TU 4 What structure located between the Palatine and Aventine Hills was known for its chariot racing? CIRCUS MAXIMUS B1&B2 The emperor Domitian added two colored factions to the original four. For five points each, name these colors PURPLE & GOLD 1 2017 TSJCL CERTAMEN NOVICE DIVISION ROUND 1 TU 5 Say in Latin: Do you like learning the Latin language? AMASNE / AMATISNE / DILIGISNE / DILIGITISNE DISCERE LINGUAM LATINAM? B1 Say in Latin: You are not going to school tomorrow, are you? NUM CRAS AD SCHOLAM IS / ITIS? // NUM ES ITURUS / ESTIS ITURI AD SCHOLAM CRAS? B2 Say in Latin: You want to win this contest don’t you? NONNE HOC CERTAMEN VIS / VULTIS / CUPIS / CUPITIS VINCERE? [SCORE CHECK] TU 6 What state has the motto “ad astra per aspera”? KANSAS B1 What state has the motto “dum spiro, spero”? SOUTH CAROLINA B2 What is the Latin motto of the state of Missouri? SALUS POPULI SUPREMA LEX (ESTO) TU 7 Give the accusative singular for the phrase solum animal. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
The Roman Poets of the Augustan Age: Virgil by W
The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
Lesson 7 – Saul's Conversion Text: Acts 9 Main Characters: God, Jesus
Lesson 7 – Saul’s Conversion Text: Acts 9 Main Characters: God, Jesus, Saul, Ananias, Barnabas, Peter, Aeneas, Dorcas (Tabitha) Key Passages: - Acts 9:15-16 – Saul had been chosen by the Lord to preach to the Gentiles and others. - Acts 9:18-20 – Once Saul had been healed of his blindness, he immediately obeyed and preached. Main Storyline: After Stephen was stoned, Saul became even more zealous to persecute Jesus’ disciples, whom he believed were blaspheming God. He asked the high priest for written permission to go to the synagogues in Damascus to arrest any disciples of Christ that he could find. He was granted his request, and he and some other men began the journey to Damascus to continue the persecution of the church. As Saul and the other men approached Damascus, suddenly, a light shone around Saul from Heaven. Saul was stunned, and he fell to the ground. Then he heard a voice which asked, “Saul, Saul, why are you persecuting me?” Saul recognized the authority of the one speaking and asked, “Who are you, Lord?” The Lord responded, “I am Jesus, whom you are persecuting…” Saul trembled and was astonished when he heard Jesus reveal himself. He asked Jesus what he should do, and Jesus instructed him to go to Damascus for further instructions. The other men with Saul could not understand what was happening. When Saul got up from the ground, he realized that he had been blinded and could not see. The other men led him to Damascus, where he fasted for three days, still blind. -
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. -
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.