DOCSLIB.ORG

Index Locorum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Index Locorum Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information Index locorum Aeschylus Corinna Agamemnon PMG 654.1 296-9, 114 col. i.29-34, 68–9 Persians 806, 118 Dio Chrysostom Seven against Thebes Oratio 2.33, 176 146-7, 108 273, 91–2 epic Thebaid 377-9, 79–80 fr. 1 West, 28 486-7, 81 Euboulus 526-8, 82–4 Antiope 527-8, 99 fr. 9.1-2a and 4b-5 Kassel-Austin, 100–1 Alcman Euripides fr. 19c Calame, 50 Antiope Apollonius of Rhodes fr. 223.109-14 TrGF, 95–6 Argonautica fr. 224 TrGF, 100–1 1.536-41, 134–6 fr. 233.52 TrGF, 117 1.735-41, 131–3 Bacchae 3.1176-80, 133–4 5, 94 3.1185-7, 134 5-12, 103–4 Aristophanes 521-2, 94 Acharnians 530-2, 94 954, 98 661, 116 748-54, 116 Bacchylides 1043-7, 117–18 dithyrambs 1095, 137 5.47-50, 55 1110, 137 epinicians Heracles 9.20, 56 48-50, 111 9.54, 55–6 571-3, 97 10.30, 55 573, 96 784, 96 Callimachus Phoenissae Bath of Pallas 24, 115 62, 129 38, 119 125-6, 130 101-2, 97 Fragments 131-2, 87 fr. 228.16 Pfeiffer, 130 145, 87–8, 99 Hymn to Delos 825-6, 94 75-98, 123–8 1123, 88 185 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information 186 Index locorum Hesiod 4.61-8, 63–4 Theogony 6.74-5, 58–9 530, 30 8.16, 57 978, 30 8.19-20, 58 Works and Days 8.20, 57 159-65, 30 Nemean 162, 15, 30 4.19-22, 62–3 Hesiodic Aspis 9.22, 59 271-2, 32 9.22-6, 60–1 Homer Olympian Iliad 6.84-5, 14 2.505, 41–2 10.85, 58 4.385-6, 44 Paeans 4.406-7, 45 A1.33-7 Rutherford, 64–5 6.237-50, 40 E1.7 Rutherford, 59 6.293-7, 40 Pythian 6.317, 40 2.4, 57 6.370-94, 40 3.78, 176 9.383, 16 9.80-83, 62 14.113-14, 44 9.87-8, 59 22.145-57, 38–9 11.01-6, 59–60 22.411, 37 Odyssey Sappho 4.125-27, 16 fr. 44.6 L-P, 51 11.260-5, 42–3, 131 Sophocles Homeric Hymns Antigone Dionysus 1 100-5, 92–3 5-8, 35 842-3, 92 Dionysus 26 999-1000, 107 1-6, 35–6 1005-11, 106–7 Pythian Apollo 1123-4, 97 223-8, 33–5 Oedipus Tyrannus 20-1, 106, 109 Ibycus 160-2, 111–12 fr. 302 PMGF, 51 733, 119 919, 108 Lycophron Stesichorus Alexandra PMGF 222(b) 433-8, 137–8 216, 53 598-602, 138–9 216-17, 53 220, 53 Pausanias 220-4, 53–4 9.08.4, 90, 151 228-9, 53 9.10.2, 78, 157 233, 53 9.10.3, 157 236, 53 9.10.5, 18 Strabo 9.12.3, 153 9.2.5, 142–3 Pindar Fragments Theocritus 169a.49 Race, 62 Idylls 196 Race, 57 16.104-5, 136 Isthmian 26.10-11, 137 1.29, 58 26.2, 137 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information Index locorum 187 Theognis Xenophon 1209-10, 51 Hellenica Thucydides 6.3.09, 15 1.12.3, 130 6.3.11, 15 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information General index Adrastus, 29, 45, 87, 89, 102 Semitic root of name, 15 Aegina (Asopid), 67, 69 slays Theban dragon, 133–34 Akraiphen, 67, 70 wedding to Harmonia, 49 Alcman, 50–51 Capaneus, 137–38 Alcock, Susan, 8 cremated in Eleusis, 101 Alexander the Great, 10, 19, 22, 140, 145 Cassander sack of Thebes in 335, 12, 17, 21–22, 25, 140, 158 rebuilding of Thebes in 316, 21–22 sack of Thebes in Strabo, 143 Corcyra (Asopid), 67, 69 Alkaidai, 52 Corinna, 65–73 altars date of, 66 Athena Onka, 109 Coroneia, 129 Hercules at the Herakleion, 63–64 battle of, 22, 78, 150 Zeus Soter, 111 crossroads of Oedipus, 13, 118–20 Ampheion hill. See tombs Amphiaraus, 60–63, 79–80, 98 Daphnephoria, festival, 57, 64–65, 135 Amphion and Zethus, 14, 42–43, 131–33, 138 de Polignac, François, 7 Antiope, 42–43, 90, 131–32 Delphi, 106, 126–27. See also sanctuaries Antonaccio, Carla, 8 Demeter, 113 Aonian plain, 134, 160 Demetrius Poliorcetes Apollo Lykeios, 108 sack of Thebes in 290, 21, 140 Arrian, 22, 172 Diomedes, 43–44 Artemis, 111–12 Dionysus, 35–36, 51, 55, 103–4. See also sanctuaries Asopids, 136 and Dirce, 94 as names of cities, 70 Dirce (heroine), 94–97, 100 Athena. See also altars; sanctuaries; statues Homolois, 110 Ectenes, name for Thebans, 138 Parthenos, 109 epic Epigoni, 27–29 Polias, 109 epic Oedipodeia, 27–28 Attica epic Thebaid, 27–29 frontier with Boeotia, 13, 71–72, 114 Epikaste, 28, 52–55. See also Jocasta Aulis, 70 Eteocles, 27–28, 31. See also tombs at Hebdomai gates, 84 Bacchylides, 55–56 legendary king of Orchomenus, 136 Buxton, Richard, 7 Euboea (Asopid), 67 Cadmus, 50–51 fortifications. See gates; walls and the dragon’s teeth, 131 founder of Thebes, 14, 95 gates, 162f. from Egypt, 14 Borraiai, 82–84, 99–100 from Phoenicia, 14 Dirkaiai, 84, 87 in Hesiod, 31 Elektrai, 23, 26, 63, 78, 89–90, 151 188 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information General index 189 Hebdomai, 84–85, 89 location of, 113–14 Homoloides, 80, 88, 151 paired with Asopus, 116 Hypsistai, 82, 84 personified, 68–69, 71 in tragedy, 77 Helicon, 67, 72, 126, 129–30 Krenaiai, 84, 87–88 personified, 68–69, 71 mythological names, 90–91 Mycalessus, 33 Neistai, 79, 151 Ogygiai, 82 Oedipus, 28, 52 Onkaiai (of Athena Onka), 81–82 exposed on Cithaeron, 114 Proitides, 79–80, 151 Ogygia, 82 Scaean (of Troy), 38, 40 oionoskopeion (bird observatory) of Teiresias, 107 Gla, 23 Orchomenus, 136 Orion, 67, 71 Haliartus, 128, 130 Hector (bones of ), 139 palaces Heracles, 51,62–64,96–98.See also sanctuaries; tombs of Cadmus, 103–4 children of (Alkaidai). See Alkaidai of Eteocles, 44–45 children of (Herakleidai). See Herakleidai of Oedipus, 53–54 Herakleidai, 52, 63–64 of Priam in Troy, 40 Hesiodic poems, 29–33 Paris, 40 Thebes and Troy in, 30–31 Paris (city), 13 Homeric Hymns Pausanias, 142 to Dionysus 1, 35–36 importance of mythic past, 143–44 to Dionysus 26, 35–36 on gates of Thebes, 142 to Pythian Apollo, 33–35, 123 on houses and tombs, 153–54 houses. See also palaces on sanctuaries, 154–57 of Cadmus, 23–24, 152–54 on springs and rivers, 147–49 of Hector in Troy, 40 on walls and gates, 151–52 of Paris in Troy, 40 personification of Pindar, 21, 172 of Dirce. See Dirce (heroine) Hypothebai, 41–43 of mountains, 68–69 Hyria, 70 Philadelphia, 5, 13 Hyrieus, 70 Phocis frontier with Boeotia, 72 Ibycus, 51 Pindar, 56–65 Ismenius (son of Melia), 64, 126, 147 plain of Thebe, 14, 20, 102, 129 Polynices, 27–29, 31, 45, 88–89. See also tombs Jocasta, 52 at Hebdomai gates, 84 Keramopoullos, A. D., 10 rivers, 17–20, 145–48 Asopus, 13, 20, 43–44, 67, 71, 117–18, 125 Lefebvre, Henri, 2, 4–5, 11, 76, 158 personified, 69 Lycophron, 110, 137–39 Dirce, 19, 125 in Pausanias, 147–48 Melia, 64–65, 125–27 in tragedy, 91–97 mother of Ismenius and Tenerus, 126 location of, 93 metonymy, 7, 30, 58–59, 70, 72, 120, 159 Ismenus, 18, 25–26, 59–60, 67, 79–80, 91–92, Cithaeron, 116–17 103, 125 Dirce, 57, 92, 94, 96, 147 in Pausanias, 147 Dirce and Ismenus, 94, 146 in tragedy, 97–98 Ismenus, 59, 98 Ladon, 67, 71 Theban chora, 118, 125 Scamander, 39 mountains Strophia, 18, 79, 125, 145 Cithaeron, 13, 20, 67, 72, 113–18, 127, 137, 146 Xanthus liminal status, 115 personified, 71 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-07736-2 - Myth, Literature, and the Creation of the Topography of Thebes Daniel W. Berman Index More information 190 General index Salamis (Asopid), 67 Tenerus (son of Melia), 64, 126 sanctuaries Teumessus, 33–34 Apollo Ptoios, 67, 70 Teumessian fox, 29, 65 Athena in Thebes, 109–11 Theban plain. See plain of Thebe Athena Onka, 81–82, 109 Thebe Dionysus Kadmeios, 23, 112–13, 152–54 name of nymph, 14, 56, 67, 126 Herakleion, 21, 26, 63 wife of Zethus, 14 in Pausanias, 154 singular toponym, 13–14, 34, 51, 55, Ismenion, 18–19, 21, 25–26, 98, 110, 154–57, 161 126, 133 in Aeschylus, 77–78 Thebes in Argonautica, 135–36 built topography of site, 20–26, 149f. in Euripides, 89–90 called Cadmeia or Cadmeian land, 15 in Pausanias, 147–48 chora of, 20, 67, 113 in Pindar, 59–60 city in the Troad, 170 in Sophocles, 105–8 destructions of.
Load more

Recommended publications
  • Jerusalem Delivered by Torquato Tasso</H1>
    Jerusalem Delivered by Torquato Tasso Jerusalem Delivered by Torquato Tasso Gerusalemme Liberata ("Jerusalem Delivered") by Torquato Tasso (1544-1595) Published 1581 in Parma, Italy. Translated by Edward Fairfax (1560-1635); translation first published in London, 1600. This electronic edition was edited, proofed, and prepared by Douglas B. Killings ([email protected]), November, 1995. ***************************************************************** FIRST BOOK page 1 / 730 THE ARGUMENT. God sends his angel to Tortosa down, Godfrey unites the Christian Peers and Knights; And all the Lords and Princes of renown Choose him their Duke, to rule the wares and fights. He mustereth all his host, whose number known, He sends them to the fort that Sion hights; The aged tyrant Juda's land that guides, In fear and trouble, to resist provides. I The sacred armies, and the godly knight, That the great sepulchre of Christ did free, I sing; much wrought his valor and foresight, And in that glorious war much suffered he; In vain 'gainst him did Hell oppose her might, In vain the Turks and Morians armed be: His soldiers wild, to brawls and mutinies prest, Reduced he to peace, so Heaven him blest. II O heavenly Muse, that not with fading bays Deckest thy brow by the Heliconian spring, But sittest crowned with stars' immortal rays In Heaven, where legions of bright angels sing; page 2 / 730 Inspire life in my wit, my thoughts upraise, My verse ennoble, and forgive the thing, If fictions light I mix with truth divine, And fill these lines with other praise than thine. III Thither thou know'st the world is best inclined Where luring Parnass most his sweet imparts, And truth conveyed in verse of gentle kind To read perhaps will move the dullest hearts: So we, if children young diseased we find, Anoint with sweets the vessel's foremost parts To make them taste the potions sharp we give; They drink deceived, and so deceived, they live.
    [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]
  • Greek and Roman Mythology and Heroic Legend
    G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image .
    [Show full text]
  • Wulf: Libretto
    WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield.
    [Show full text]
  • Lecture 18 Good Morning and Welcome to LLT121 Classical Mythology
    Lecture 18 Good morning and welcome to LLT121 Classical Mythology. In the next two or three class periods, we will be considering the goddess Artemis and her twin brother Apollo, two deities who, to a greater or lesser, extent represent this idea that the ancient Greeks must bow down before the divine. If you will recall from our last few class meetings, we talked about Dionysus, the god who was the externalization of partying, wine, and ecstatic possession, feel the power, feel the god inside you, feel the burn, and tear a few live animals apart. We also discussed the goddess Aphrodite, that wild and crazy goddess who is the externalization of the power of love, the power that, if you are lucky, at some point or another in your life, turns your mind to Jell-o and turns you into a love automaton. I wish you all such good luck. This is one half of the Greek psyche and this is one half of everybody’s psyche. The other half is represented by Artemis and Apollo, a goddess and a god who stand for getting a grip. Artemis is a virgin. She guards her virginity jealously. We’re going to go over a few stories this morning talking about what a bad career move it is to try to put the moves on the goddess Artemis. The god Apollo is not exactly chased. He is a bundle of contradictions, which represents, in and of himself, the full range of contradictions located, again, in the human psyche. When I believe it was Nietzsche who wanted to formulate his idea of the cosmic, he didn’t take out, oh, say, Artemis and Aphrodite.
    [Show full text]
  • The Pedimental Sculpture of the Hephaisteion
    THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment.
    [Show full text]
  • The Marriage of Peleus & Thetis
    The Marriage of Peleus & Thetis [Groton & May, Chapter 18] Peleus Thetis m. was a mortal man, the son was a sea nymph, one of of Endeis and Aeacus, king the fifty daughters of of Aegina. As a young Nereus, termed Nereids, Achilles man, Peleus and his described by Homer as, brother, Telemon were “silver-footed.” involved in the murder of their half-brother, Phocus. In exile, he married Antigone, then accidentally killed her father, Eurytion. After Antigone killed herself, Peleus again went into exile Portrait of Achilles from a Greek Black-figure vase, c. 530 BC where he met his next wife. The Nuptials The wedding was planned by Zeus (Jupiter) himself and took place on Mt. Pelion. Mortals and immortals alike were invited and all were required to bring gifts. Poseidon (Neptune) gave Peleus a pair of immortal horses, named Balius & Xanthus. The wedding is described by the Greek playwright, Euripides, in “Iphigenia at Aulis” and by the Latin poet, Catullus in poem 64. Discordia [Greek, Ερισ] The goddess of discord and the personification of strife, Discord was the only immortal not invited to the wedding of Peleus and Thetis. Angered, she threw out a golden apple inscribed with the words, “For the Fairest.” Three goddesses, Hera (Juno), Aphrodite (Venus), and Athena (Minerva), immediately begin to quarrel over the apple. Jupiter handed the decision over to the Trojan, Paris, who awards the apple to Aphrodite. Venus in turn offers him the golden apple Helen, wife of Menelaus, King of Sparta. created by Jessica Fisher, 2007 .
    [Show full text]
  • THE INTERPRETATION of THEBAN MYTHS in LATE MEDIAEVAL LITERATURE David Anderson for Richard Hamilton Green
    MYTHOGRAPHY OR HISTORIOGRAPHY? THE INTERPRETATION OF THEBAN MYTHS IN LATE MEDIAEVAL LITERATURE David Anderson For Richard Hamilton Green The modern term "classical myth" covers a range of legendary subjects which mediaeval writers commonly distinguished as tabula or historia; or, with the addition of a third term, as 1) things which could have happened and did happen (historia); 2) things which could have happened but did not (argumentum) ; and 3) things which could not have happened and did not happen, such as the preposterous high jinks of the pagan gods (fabula).* Though the mediaeval Latin word historia and the derivative loan-words in vernacular languages, such as Middle English "storie," do not correspond exactly to the meaning of Modern English "history," they stood always and clearly in contrast to fabula, which denoted a lie, a falsehood. By the fourteenth century, writers were using this pair of terms with the informality accorded an unquestioned convention. In one well-known example, Chaucer's Physician remarks that the tale of Appius and Virginia "is no fable, / but knowen for historial thyng notable" (154-55); and in another, Boccaccio distinguishes the fabulous from the historical characters and events in Vergil's Aeneid, book 4 (Genealogie 14.13). Accounts of the "myths" of the ancient cities of Thebes and Troy often focussed on the question of fabulous and historical elements in the received sources: Guido delle Colonne, for one, sets it as his task to "separate the true from the false among the things which were written of [Trojan] history in Latin 2 books," an assertion which John Lydgate translates and expands in the prologue to his Troy Book.
    [Show full text]
  • NARCISSUS TWEETS (Previously Published in the Baffler)
    Kresge Artist Grant Work Sample NARCISSUS TWEETS (previously published in The Baffler) @NarkeHunts Followers 646 Following 0 @Artemis Looked down into the silvered water and there he was. The most beautiful creature I've ever seen. I'm in love. @BrizoSees Had a dream last night--a nymph saying my name over and over. A rock skipped across the sea. A blinding flower. Thoughts? @Calliope @Homer says you’ve helped his writing. Heard about @Ares demanding the DNA tests. Girl, war gods are full of drama. @Dionysus Prune the wild river loti. My lover's head is draped. At first, ok. Now too much. I like him clean-shaven, like me. @Eros I want him inside me, but he only offers water. I’ve said: I’m not parched, but I’m parched. He can’t grasp nuance. @Echo Fuck off Fairy (fuck off fairy) repeat (repeat) after me (after me): he’ll kill you before you have me (he’ll kill you…have me) @GaiaNature Turns out my water-spirit lover is a boy. Me too! I guess I'm gay. At least I’m in good company, ask @Zeus. #ganymedegame @HeraCurses That damned nymph @Echo rests near; my words rattle through her, falling back to me. Why do I suffer her curse? #stalkerblues @IynxCharm The squalls displaced the pond. My lover is gone, again. He wasn’t made for storms. What god do I beg to bring him back? @Aegaeon Just a quick plea—please stop the jinx-storms. My lover leaves when it rains. @KaikiasBlows Could you keep the wind still? Your kind kinks my lovers skin, makes him turn from me.
    [Show full text]
  • Death and the Female Body in Homer, Vergil, and Ovid
    DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis.
    [Show full text]
  • Achilles' Horses and Balaam's Donkey
    International Journal of Research in Humanities and Social Studies Volume 4, Issue 9, 2017, PP 1-5 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) Heed Your Steeds: Achilles’ Horses and Balaam’s Donkey Robert Gnuse Loyola University, 6363 St. Charles Avenue, New Orleans, LA 70118, USA *Corresponding Author: Robert Gnuse, Loyola University, 6363 St. Charles Avenue, New Orleans, LA 70118, USA Received Date:11-07-2017 Accepted Date:17-07-2017 Published Date:09-09-2017 ABSTRACT Two very distinctive accounts from the ancient world relate how animals warn their riders of impending danger by speaking to them, and the humans appear to be not very surprised by the talking animals. According to Iliad, Book 19,395-424, the horses of Achilles spoke to him a word of warning before his entry into battle, and in Num 22:21-34 Balaam’s donkey complained of the unfair beating he received from Balaam when trying to avoid the threatening angel of the Lord (Num 22:21-34). The stories are not similar enough to declare that the biblical author used the Greek narrative for a template. However, both are unusual narratives that bear some particular similarities with each other. It would appear to me that as the biblical author crafted his or her story, the author consciously reacted against some of the underlying themes in the Homeric narrative. Keywords: Achilles, Balaam, Homer, Iliad, donkey, angel of the Lord INTRODUCTION mighty Achilles, though the day of doom is near you, nor will we be the cause of it, but a mighty Tales are told in the ancient world about talking god and overpowering Fate.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Recognition and its Dilemmas in Roman Epic Permalink https://escholarship.org/uc/item/4hn808p4 Author Librandi, Diana Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Recognition and its Dilemmas in Roman Epic A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics by Diana Librandi 2021 © Copyright by Diana Librandi 2021 ABSTRACT OF THE DISSERTATION Recognition and its Dilemmas in Roman Epic by Diana Librandi Doctor of Philosophy in Classics University of California, Los Angeles, 2021 Professor Francesca Katherine Martelli, Chair The present dissertation examines the widespread presence of tropes of tragic recognition in Roman epic poetry from an interdisciplinary perspective. I argue that Roman epic poets draw at once on tragedy and ancient philosophy to address the cognitive instability generated by civil war, an event which recurrently marks the history of Rome since its foundation. When civil conflicts arise, the shifting categories of friend and enemy, kin and stranger, victor and vanquished, generate a constant renegotiation of individual identities and interpersonal relationships. It is in light of these destabilizing changes that I interpret the Roman epic trend of pairing civil war narratives with instances of tragic recognition. Far from working exclusively as a plot device or as a marker of the interaction between the genres of epic and tragedy, tropes of tragic recognition in Roman epic are conducive to exploring the epistemological and ethical dilemmas posed by civil war.
    [Show full text]