Xerox University Microfilms 300 North Zeab Road Ann Arbor, Michigan 48106 74-3227 LAWRENCE, Curtis Pleasant, 1941- the STRUCTURE of OVID's AMORES II

Total Page:16

File Type:pdf, Size:1020Kb

Xerox University Microfilms 300 North Zeab Road Ann Arbor, Michigan 48106 74-3227 LAWRENCE, Curtis Pleasant, 1941- the STRUCTURE of OVID's AMORES II INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this docum ent have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. * 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure y o u complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority o f users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages y o u wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeab Road Ann Arbor, Michigan 48106 74-3227 LAWRENCE, Curtis Pleasant, 1941- THE STRUCTURE OF OVID'S AMORES II. The Ohio State University, Ph.D., 1973 Language and Literature, classical University Microfilms,A XEROX Company , Ann Arbor, Michigan © 1973 CURTIS PLEASANT LAWRENCE ALL RIGHTS RESERVED THE STRUCTURE OP OVID'S AMORES II DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Curtis P. Lawrence. B.A., M.A. * * * * * The Ohio State University 1973 • Reading Committee* Approved By John T, Davis, Chairman Kenneth M. Abbott Mark P. 0. Morford L (J Adviser Department of Classics ACKNOWLEDGMENTS I am grateful to The Ohio State University for their support through the Dissertation Year Fellowship which allowed me to be in residence at Cambridge where this dissertation was written. My thanks to the Fellows and members of Corpus Christi College, Cambridge for their help and support during my year of research and writing in their splendid libraries. At Cambridge, Mr. Geoffrey Woodhead, Mr. W.A. Camps, and Mr. Guy Lee were particularly helpful. In Columbus, Professors John Davis and Kenneth Abbott spent considerable time and effort in reading the various stages of this work, and I am indebted to them. Particular attention must be given in crediting my wife Bianca who contributed greatly in many ways to the accomplishment of the dissertation. ii VITA June 1941 Born--Norman, Oklahoma 1959 Diploma, Pauls Valley Highschool, Pauls Valley, Oklahoma 1963 B.A,, Baylor University, Waco, Texas 1964 M.A., The Ohio State University, Columbus, Ohio 1964-1966 Instructor, in Classics, Baylor University, Waco, Texas 1966-1970 Intelligence Officer, United States Air Force 1970-1972 Teaching Associate, The Ohio State University, Columbus, Ohio 1972-1973 Dissertation Year Fellow, The Ohio State University, Columbus, Ohio, and Research Student at Corpus Christi College, Cambridge, iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ii VITA iii INTRODUCTION 1 CHAPTER I* AMORES II.1, 2, 3, 18, and 19 29 CHAPTER II* AMORES II.4, 10, and 1? 52 CHAPTER Hit AMORES II.5. 6. 15* and 16 6 6 CHAPTER IV* AMORES II.7* 8, 9* 9b* 11, 12, 13, and 14 , 83 CONCLUSION 110 APPENDIX 113 SELECTED BIBLIOGRAPHY 114 INTRODUCTION My purpose in this dissertation is to analyze Ovid’s use of theme and symmetry in the arrangement of the individual poems in Amores II.1 To appreciate the artistry of the poet in arranging the second book of the Amores. it is necessary to consider first the obvious bases for the book’s structure before treating the more 2 subjective ones. 1 Ernestus Rautenberg in his dissertation De Arte Compositionis quae est in Ovidii Amoribus (Vratislaviae, 1868), p. 3 2* sees an arrangement of this book of poetry which contains in embryonic form the idea v/hich will be further developed and defended here. His theory and a diagram of it are to be found in Appendix A. 2 In the commentary of Pseudo-Probus on Vergil’s first Eclogue (vol. Ill, page 328 of Thilo’s edition of Servius), wehave an indication of ancient interest in book arrangement* Sed non eodem ordine edidit, quo scripsit. Est enim ecloga, qua ereptos sibi agros queritur, sic incohans <E. IX,1>* Quo te, Moeri, pedes? An quo via ducit in urbem? et ea posita est in paenultimo. At prius fuit queri damnum, deinde testari beneficium. Ergo praeponi ilia ecloga debuerat et sic haec substitui, qua gratias agit. Sed Vergilii consilium hoc fuit* ne offenderet imperatorem, cuius saeculo librum legendum praebebat, maluit instare testimonio. Nam^ ipsa ecloga, quae de damno refert, nec in ultimo posita est, ne vel sic insigniter legeretur. Plerumque enim, auae in medio ponuntur, inter priroa (et ultima) delitescunt. 1 The study of book arrangement, however, is not an end in itself and serves as a prelude to the more intriguing study of Ovid's artistry. It is with this caveat in mind that this dissertation is devoted to the structural and thematic arrangement of Ovid's Amores II, In his article on the arrangement of poetry- books of the Augustan age,-^ Wilhelm Port established that there are three basic principles of book arrangement among the Augustans and that these principles are in turn applied variously to three basic elements of any book of poetry. It is upon these principles and elements that Port has based his examination of the Augustan poets, His first principle of book arrangement is variatio. By this is meant that the poet would separate similar poems whether they be similar in meter, addressee, theme or subject matter, in order to achieve variety. The second principle which he has found is that of arranging the poems at points of emphasis in the book. The most important places are the beginning, middle, and end. The poets often placed poems which they wanted • particularly noticed at these places. This procedure ^Wilhelm Port, "Die Anordnung in GedichtbUchern augusteischer Zeit," Philologus. 81 (1926), pp. 280-308 and ^27-^68. Note especially his summary, pp. **58-*f6l. allowed a further development in arrangement by providing the poet the opportunity of balancing one half of a book against the other half based upon one of the basic elements of any book of poetry, with the middle poem functioning as the pivotal or unifying poem for the two halves. The third arrangement which Port has noticed is by pairs or cycles of poems. On the basis of meter, addressee, or theme, the" poet could write two or more poems within a book meant to be read together, frequently in Propertius and Ovid even reflecting the same dramatic situation. This resulted in cycles of poems and pairs of poems. An example of a cycle of poems is found in Horace Odes III.1-6 (the Roman Odes). These poems form an organic whole with a 'common interest in extolling Roman virtues* 1, frugal!tast 2, patientia and fides» 3* iustitia atque constantia: 4, consilium* 5t virtus and fortitudo* 6, pietas and castitas. An example of paired poems in Propertius is I.8a and b. In I.8a, the poet has written a propempticon in which he exhorts his mistress to remain with him instead of accompanying another man on a dangerous sea voyage. In I.8b, his argument has won and Cynthia is in his arms (line 2« . vicimus). In Ovid's Amores many paired poems are to be found of which five pairs will be discussed extensively in this dissertation. The cycles and pairs can be * related dramatically, sharing the same dramatic situation but different moments in that situation, or thematically, i t sharing the same topic in varying aspects. The basic elements of book arrangement are meter, addressee, and theme or subject matter. The poet in arranging his book of poetry would combine at least one element from meter, addressee, and theme with at least one principle of arrangement (variatio. point of emphasis, and pairs) in order to make the book a unified whole. The Augustan poets seem not to have been content with thinking of a book of poetry as so many collected poems. Rather, they treated it as an organic whole in which the various poems played definite roles, to varying degrees, of *5 influence upon one another and upon the book.-^ k ## Klaus Jager, Zweigliedrige Gedichte und Gedicht- paare bei Pro-perz und in Ovids Amores CInaugural Disser­ tation^ Tubingem 1967). ^In his article, "Propertius* single book," HSCP. 70 (1965), P» l6. Brooks Otis says "The Monobiblo3 is a work of art based on a major theme (the servitium amoris or Gallus* combination of Catullus with the Hellenistic sermo amatorius) most intricately worked out in symmetrical contrasts and similarities." See also, F, Solmsen, "Three elegies from Propertius' first book," CP, 57 (1962), pp.
Recommended publications
  • Banished to the Black Sea: Ovid's Poetic
    BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome.
    [Show full text]
  • 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.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    THE ANATOMY OF ROMAN EPIC: A STUDY OF POETIC VIOLENCE By JAMES MOSS LOHMAR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 James Moss Lohmar 2 Meis parentibus sororibusque bellis 3 ACKNOWLEDGMENTS I must first thank my mother, for forcing me to take Latin, and my father, for always talking shop. My sisters, Sarah and Elizabeth, have supported me throughout my studies, and their enthusiasm for my progress is always welcome. I have profound respect for Dr. Robert Burgess and Professors Mario Erasmo and James Anderson, without whose enthusiasm and instruction my decision to pursue a Ph.D. would have never come about. My gratitude goes to Professor Victoria Pagán and the students of her Lucan seminar during Fall 2009, whence the nascent stages of this project were born. My thanks go to Seth Boutin, Megan Daly and George Hendren, in particular, for their erudition and collegial support in this process. Lindsay Rogers offered me much support in the way of professional and academic advice throughout my graduate studies. I have appreciated the criticisms of Professor Gene Witmer in UF Philosophy, who has offered help in making this project appeal to a non-specialist audience. His suggestions of horror bibliography and modern film comparanda have been indispensible. Professor Kostas Kapparis has been a steady mentor in my teaching and writing since I began Ph.D. work, and his objectivity has kept my argument grounded in the text.
    [Show full text]
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]
  • Introduction: Medea in Greece and Rome
    INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com­ plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis­ placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex­ ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp­ ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro­ man intellectual and visual world.
    [Show full text]
  • And Type the TITLE of YOUR WORK in All Caps
    IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr.
    [Show full text]
  • Further Notes on Ovid's Epistulae Ex Ponto
    FURTHER NOTES ON OVID’S EPISTULAE EX PONTO Abstract: Several passages of Ovid’s Epistulae Ex Ponto are explained. Key words: Ovid: textual criticism. Resumen: Se explican diversos pasajes de Ovidio (Epistulae Ex Ponto). Palabras clave: Ovidio, crítica textual. 1, 5, 31-34: an populus vere sanos negat esse poetas, sumque fides huius maxima vocis ego, qui, sterili totiens cum sim deceptus ab arvo damnosa persto condere semen humo? Ovid states that people are right to say that poets are mad. He adds that he persists in sowing seed in a pernicious land. Note the obscene pun. The words damnosa... condere semen humo1mean both “to sow seed in a pernicious land” and “to celebrate semen2 in a pernicious land”. Ovid cel- ebrates sexual poetry (semen = by metonymy sex: cf. Lewis And Short, A Latin Dictionary, s. v. se- men I, 2). 2, 1, 39: fluminaque et montes et in altis proelia silvis montes: fontes v. 1. proelia Merkel: pascua ms. The reader will note that Richmond printed Merkel’s alteration proelia3. It should be noted, however, that perfect sense is provided by the variant pascua. I would like to suggest that we should print this line as follows: 1 Cf. Lewis and Short, op. cit., s. v. condo I, C: “Of “teacher’s rod” and “membrum virile”. Ovid was ban- written productions, to compose, write of, celebrate... ished because he had written the immoral Ars Amato- describe”. ria: cf. my article entitled “Crime And Punishment In 2 At Ex Ponto 3, 3, 11 Ovid states that he had an Ovid’s Tristia” (Veleia 22, 2005).
    [Show full text]
  • Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES
    Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES NUMBER 7 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) was supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Meta- physics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 Number 6: Donald J. Mastronarde, Preliminary Studies on the Scholia to Euripides, 2017 Early Greek Alchemy, Patronage and Innovation in Late Antiquity Olivier Dufault CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2019 by Olivier Dufault.
    [Show full text]
  • Mythological Variants Inisidore of Seville's Etymologies
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Search the GML Mythological Variants in Isidore of Seville's Etymologies advanced Isidoro de Sevilla (c. 560‐636), painting by Bartolomé Esteban Murillo (1618‐ 82). (Image in public domain) Selection of less common variants of the Greek myths in Isidore of Seville's Etymologies Books, chapters and lines in the Namesakes are numbered for identifications purposes as is praxis in the Greek Mythology Link. If a name is not linked, see the Etymologies: Dictionary for further details. Excerpts from Isidore's Etymologies are in red. Sources Abbreviations Achaeus: 9.2.72. "The Achaians, also known as Achivians, were named after Achaeus, son of Jupiter." The eponym of the Achaeans, Achaeus 1, is otherwise known as son of Xuthus 1 & Creusa 1 (Apd.1.7.3; Pau.7.1.6; Strab.8.7.1). Achaeus 2, son of Poseidon & Larisa 1 is also regarded as eponym of the Achaeans (DH.1.17.3). Agenor: 14.4.1. "Europa was the daughter of Agenor, king of Libya, whom Jupiter carried to Crete after she had been abducted from Africa ... This Agenor is the son of Libya, after whom Libya, that is Africa, is said to have been named ..." Usually, Europa is believed to have been abducted in Phoenicia where she was born (Apd.3.1.1). Apollodorus says that Agenor 1 was born in Egypt but departed to Phoenicia where he reigned (2.1.4).
    [Show full text]
  • The Ears of Hermes
    The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2.
    [Show full text]
  • Edmund Spenser, George Turberville, and Isabella Whitney Read Ovid's
    Edmund Spenser, George Turberville, and Isabella Whitney Read Ovid’s Heroides by M. L. Stapleton N the Heroides, perhaps the ancient world’s most prominent ex- ample of literary transvestism, Ovid adopts the personae of legend- Iary women who lament the amatory crimes of the men they love. It may have been some of the first poetry in Latin that Spenser encoun- tered, as it was for many schoolboys from the twelfth century onward, in accordance with its traditional pedagogical status, admirably docu- mented by Ralph Hexter. Since it was part of Eton’s Erasmian curricu- lum as early as 1528, its familiarity and centrality to Spenser, whom Richard Mulcaster inculcated with a similar humanism at the Merchant Taylors’ School, should not surprise. It served as a primary text for beginning Latin students in England through the nineteenth century. For early modern readers, it also served as a celebrated exemplum of the potential for inventive excellence by an ancient author in his juve- nile endeavors, another reason why the burgeoning New Poet would probably have read it. To Spenser and his innumerable poetical prede- cessors who sought to work meaningful improvisations on the tradi- tions they wished to embody in their work, Ovid’s cadre of mythical heroines (Lat. herois, - ides) exemplified doubly literate women—those See Hexter, Ovid and Medieval Schooling: Studies in Medieval School Commentaries on Ovid’s “Ars amatoria,” “Epistulae ex Ponto,” and “Epistulum heroidum” (Munich: Arbeo Ge- sellschaft, 1986), 137–204. Even after six decades, the most thorough standard account of Elizabethan education remains T. W.
    [Show full text]
  • THE PARAKLAUSITHYRON MOTIF in HORACE's ODES by W. J
    THE PARAKLAUSITHYRON MOTIF IN HORACE'S ODES by W. J. Henderson (Rand Afrikaans University, Johannesburg) No substantial research on the 1tapmcf.aucrieupov or exclusus amator motif in Greek and Latin literature has followed in the wake of Copley's monograph of 1956. 1 His study and the earlier work of De la Ville de Mirmont, Canter, Pasquali, Burck, Copley himself, and Elizabeth Haight, 2 have to a large extent compensated for the apparent lack of interest in the motif among classical scholars, as evidenced by the mere paragraph by Paul Maas in the Real­ encyclopiidie3 and the three-and-a-halflines by the unnamed contributor in the Oxford Classical Dictionary. This lack of interest is not limited to classical scholars. One searches in vain for an entry on the motif in the standard dic­ tionaries ofliterary terms and in the encyclopaedias of various languages. What attention has been focused on the motif has for the most part been of the 'Motivgeschichtliche' kind, where the origins and development of the motif have been traced from social custom to literary genre and motif, and the various ingredients and features of the motif established. Relatively little attention has been turned on the problem of how this highly stylised literary motif has been exploited by individual poets.4 Yet the frequency of the motif in poetry5 of different countries and ages proclaims its popularity and a certain topicality or relevancy to actual social custom. Even in its most literary form among, for example, the Roman elegists, 1. F. 0. Copley, Exclusus Amator. A Study in Latin Love Poetry, American Philological Association Monographs 17, New York, 1956.
    [Show full text]