The Wanderer, the Philosopher and the Exegete. Receptions of the Odyssey in Twelfth-Century Byzantium
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Sophocles, Ajax, Lines 1-171
SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax. -
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. -
THE ARABIC COMMENTARIES on the HIPPOCRATIC APHORISMS: ARABIC LEARNED MEDICAL DISCOURSE on WOMEN's BODIES (9Th-15Th Cent.)
THE ARABIC COMMENTARIES ON THE HIPPOCRATIC APHORISMS: ARABIC LEARNED MEDICAL DISCOURSE ON WOMEN'S BODIES (9th-15th cent.) A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 ROSALIND M. BATTEN SCHOOL OF ARTS, LANGUAGES AND CULTURES 2 TABLE OF CONTENTS Abstract 6 Declaration 7 Copyright Statement 8 Abbreviations and Apparatus 9 Acknowledgements 14 The Author 16 Dedication 17 INTRODUCTION 18 0. 1 Preliminaries: The Arabic Commentaries On The Hippocratic Aphorisms 18 0. 2 Literature Review 19 0. 3 The Corpus 28 0. 4 Methodological Framework and Research Questions 37 CHAPTER ONE THE EXEGETICAL DISCOURSE ON APH. 5. 31 40 1. 1 Purpose and Methodology 40 1. 2 The broad social and legal context of the debates on Aph. 5. 31 40 1. 3 Terminology used to denote a pregnancy and failed pregnancy: isqāt (abortion) and ḥaml (burden) 44 1. 4 Acute diseases and pregnancy in the Hippocratic-Galenic tradition 46 1. 5 The exegesis of Aph. 5. 31 in the Arabic tradition 47 1. 5. 1 Galen (tr. Ḥunayn) 47 1. 5. 2 Stephanos of Athens 50 1. 5. 3 Al-Nīlī 52 3 1. 5. 4 Ibn ʾAbī Ṣādiq 54 1. 5. 5 Al-Sinǧārī 60 1. 5. 6 Maimonides 67 1. 5. 7 ʿAbd al-Laṭīf al-Baġdādī 70 1. 5. 8 Ibn al-Nafīs 75 1. 5. 9 Ibn al-Quff 80 1. 5. 10 Al-Sīwāsī 90 1. 5. 11 Al-Ṭabīb’s Commentary on al-Kīšī’s Summary of the Hippocratic ‘Aphorisms’ 93 1. -
Homer's Iliad: a Discussion Guide
Homer’s Iliad: A Discussion Guide By David Bruce SMASHWORDS EDITION Copyright 2013 by Bruce D. Bruce Thank you for downloading this book. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. Preface The purpose of this book is educational. I have read, studied and taught Homer’s Iliad, and I wish to pass on what I have learned to other people who are interested in studying Homer’s Iliad. In particular, I think that the readers of this introduction to Homer’s Iliad will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study the Iliad despite not being literature majors. This book uses a question-and-answer format. It poses, then answers, relevant questions about Homer, background information, and the Iliad. This book goes through the Iliad book by book. I recommend that you read the relevant section of the Iliad, then read my comments, then go back and re-read the relevant section of the Iliad. However, do what works for you. Teachers may find this book useful as a discussion guide for the epic poem. Teachers can have students read books from the epic poem, then teachers can ask students selected questions from this study guide. It helps to know something about Homer’s Odyssey, Virgil’s Aeneid, Greek and Roman mythology, and Ovid’s Metamorphoses, but this background reading is not strictly necessary. -
Self-Authorization and Strategies of Autography in John Tzetzes: the Logismoi Rediscovered Aglae Pizzone
Self-authorization and Strategies of Autography in John Tzetzes: The Logismoi Rediscovered Aglae Pizzone HEN IN 1948 CARL WENDEL wrote the Real- encyclopädie entry on John Tzetzes’ life and work (still the most comprehensive survey to date), he intro- W 1 duced a section devoted to the author’s “lost works.” The list included only three items: a paraphrasis of Ptolemy’s Geography, alluded to in the Historiai (11.396.884–997), an iambic poem on a representation of the sky in the palace of Chosroes, men- tioned in the same work (3.66.58–67), and the Logismoi, which are the focus of the present paper. Tzetzes mentions the Logismoi on several occasions through- out his works.2 The first reference is in the Commentary on Hermogenes, in the section devoted to the Περὶ µεθόδου δεινότη- τος.3 They are again explicitly recalled in the Historiai as well as 1 C. Wendel, “Tzetzes,” RE 7A (1948) 2003–2004. Tzetzes also probably wrote—or started to write—a chronicle in verse, on which see H. Hunger, “Allegorien aus der Verschronik. Kommentierte Textausgabe,” JÖB 4 (1955) 13–49. 2 Besides Wendel’s overview, on the Logismoi see also G. A. Kennedy, Greek Rhetoric under Christian Emperors (Princeton 1983) 317, mostly relying on Wendel; M. J. Luzzatto, Tzetzes lettore di Tucidide. Note autografe sul Codice Heidelberg palatino greco 252 (Bari 1999) 161–162; P. A. Agapitos, “John Tze- tzes and the Blemish Examiners: A Byzantine Teacher on Schedography, Everyday Language and Writerly Disposition,” MEG 17 (2017) 1–57, at 23 n.117 (based on Wendel). -
2RPP Contents
2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians University of Michigan Press, 2018 Contents Preface xvii 1. Main Sources and Method Followed in This Study xix 2. Other Primary Sources and Secondary Literature Used in This Study xx 3. Content, Goals, and Limitations of This Study xxiii Part 1. Aristarchus: Contexts and Sources 1.1. Aristarchus: Life, Sources, and Selection of Fragments 3 1. Aristarchus at Alexandria 3 2. The Aristarchean Tradition and the Venetus A 6 3. The Scholia Maiora to the Iliad and Erbse’s Edition 11 4. Aristarchus in the Scholia 14 4.1. Aristonicus at Work 15 4.2. Didymus at Work 18 4.3. Aristonicus versus Didymus 23 5. Selecting Aristarchus’ Fragments for This Study 26 6. Words and Content in Aristarchus’ Fragments 27 1.2. Aristarchus on Homer: Monographs, Editions, and Commentaries 30 1. Homeric Monographs 31 2. Editions (Ekdoseis) and Commentaries (Hypomnemata): The Evidence 35 2.1. Ammonius and the Homeric Ekdosis of Aristarchus 36 2.2. Ekdoseis and Hypomnemata: Different Reconstructions 38 3. The Impact of Aristarchus’ Recension on the Text of Homer 41 4. Ekdoseis and Hypomnemata: Some Tentative Conclusions 44 Part 2. Aristarchus at Work 2.1. Critical Signs: The Bridge between Edition and Commentary 49 1. The Critical Signs (σημεῖα) Used by the Alexandrians 49 2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians viiiUniversity of Michigan Press, 2018contents 2. Ekdosis, Hypomnema, and Critical Signs 52 3. -
The Trojan War
THE TROJAN WAR PART ONE: THE ORIGINS OF THE TROJAN WAR have actually revealed weaker stonework on the western walls of Troy, suggesting that a genuine difference in construction led to the myth that The city of Troy had several mythical founders and kings, the two gods built the other walls. including Teucer, Dardanus, Tros, Ilus and Assaracus. The most widely accepted story makes Ilus the actual founder, Mythical reasons behind the Trojan War and from him the city took the name it was best-known by in ancient times, Ilium. In an episode similar to the founding During Priam's of Thebes, Ilus was given a cow and told to found a city lifetime Troy where it first lay down. As instructed, he followed the reached its animal, and on the land where it rested drew up the greatest boundaries of his city. He then received an additional sign prosperity, but from the gods, a legless wooden statue called the Palladium, when he was a which dropped from the heavens with the message that it very old man it should be carefully guarded as it 'brought empire'. Some say was tota lly it was a statue of Athene's friend Pallas, but most believe it destroyed after a was of Athene herself and that this statue was to make Troy ten-year siege by a great city. warriors from Greece. Some say Laomedon's Troy Zeus himself Ilus was succeeded by his son Laomedon, who built great caused the Trojan walls around his city with the help of a mortal, Aeacus, and War to thin out the two gods Poseidon and Apollo. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
Certamen Homeri Et Hesiodi: Introduction, Critical Edition and Commentary
Durham E-Theses Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary BASSINO, PAOLA How to cite: BASSINO, PAOLA (2013) Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8448/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary Paola Bassino Ustinov College This thesis is submitted for the degree of Doctor of Philosophy Department of Classics and Ancient History University of Durham 2013 Abstract Paola Bassino Certamen Homeri et Hesiodi: Introduction, Critical Edition and Commentary. This dissertation provides an up-to-date introduction to the Certamen Homeri et Hesiodi, a critical edition of the text, and the first commentary in English on it. The Certamen is an anonymous work composed around the second century AD. -
Fahrenheit 451 by Ray Bradbury These Texts Can Be Signed out in Ms
9 Honors Summer Reading We Have Always Lived in the Castle by Shirley Jackson As you read the novel, take notes, using the rubric to guide you. These notes will be collected and graded one day during the first week of school. They will help you with our class discussions and in-class assignments. Consider and take notes on the following as you read: • Setting: What is the setting? How does the impact the plot and characters? How does it further the themes? • Characters/Character Traits: Identify the character traits for each of the main characters. What do you like or dislike about the characters? Are they dynamic or static? What are the characters’ motivations? • Conflicts: What are the central conflicts in each piece? Consider both internal and external conflicts. Are they resolved? • Quotes: Identify and explain the context and significance of quotes that you feel are important or interesting. Cite page numbers. • Literary Style and Technique: What do you notice about the author’s style and/or use of literary elements? (Foreshadowing, irony, imagery, symbolism, metaphor, etc.) Provide examples and explain how they add to the meaning of the text. • Topics for Theme (Reminder, a topic is a subject that is discussed throughout a piece of literature, and the theme is the claim that the author makes about the subject.): What themes can you identify? What was the author’s purpose in writing the book? • Questions: What questions do you have as you read? 9H Summer Reading Notes Rubric 4 3 2 1 Content - all notes are relevant -most notes are -
The Reappearance of Sapphic Fragments in the Italian Renaissance
1 The reappearance of sapphic fragments in the Italian Renaissance 2 3 4 In this article the survival of the sapphic fragments of the ancient times in Renaissance period is 5 examined. More specifically the reappearance of the sapphic verses is presented concerning the first 6 publications (editio princeps) and the most widespread texts of ancient authors during West 7 Renaissance. These texts were the primary sources, on which the later publications of the sapphic 8 work were based, while they also had a great influence on the reception of the ancient poet by the 9 Renaissance writers. 10 11 Key words: classical tradition in the Italian Renaissance; reception of Sappho; survival of the 12 sapphic poetry during the Renaissance 13 14 Introduction: In ancient times, Sappho's poetry was an object of admiration, and many ancient 15 sources refer to her as the Tenth Muse (Hallett 1979: 447) or ‘the poetess’, as Homer was ‘the poet’ 16 (Parker 1993: 312). Also, the Alexandrian grammarians included Sappho in the canon of the nine 17 lyric poets (ibid: 340). It seems, however, that already in the 9th century A.D. the poems of Sappho 18 have been disappeared: around 1550, Jerome Cardan reports that Gregory of Nazianzus had 19 publicly destroyed Sappho's works, while at the end of the 16th century, Joseph Justus Scaliger 20 claims that her poems were burnt in Rome and Constantinople in 1073 by order of Pope Gregory 21 VII (Reynolds 2001: 81). Similar information is also recorded by other writers1. In fact, Sappho's 22 works were probably lost since people stopped to copy them in the period that the parchment 23 replaced the papyrus (ibid: 18). -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.