From Bulfinch's Mythology: the Iliad, the Odyssey, the Aeneid
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												The Humour of Homer
The Humour of Homer Samuel Butler A lecture delivered at the Working Men's College, Great Ormond Street 30th January, 1892 The first of the two great poems commonly ascribed to Homer is called the Iliad|a title which we may be sure was not given it by the author. It professes to treat of a quarrel between Agamemnon and Achilles that broke out while the Greeks were besieging the city of Troy, and it does, indeed, deal largely with the consequences of this quarrel; whether, however, the ostensible subject did not conceal another that was nearer the poet's heart| I mean the last days, death, and burial of Hector|is a point that I cannot determine. Nor yet can I determine how much of the Iliadas we now have it is by Homer, and how much by a later writer or writers. This is a very vexed question, but I myself believe the Iliadto be entirely by a single poet. The second poem commonly ascribed to the same author is called the Odyssey. It deals with the adventures of Ulysses during his ten years of wandering after Troy had fallen. These two works have of late years been believed to be by different authors. The Iliadis now generally held to be the older work by some one or two hundred years. The leading ideas of the Iliadare love, war, and plunder, though this last is less insisted on than the other two. The key-note is struck with a woman's charms, and a quarrel among men for their possession. - 
												
												Some Devices of Drama Used in Aeneid 1—4 a Paper Read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil
Some Devices of Drama used in Aeneid 1—4 A paper read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil.' # That the episode of Dido (one might say the whole unit books 1 —4 of the Aeneid) is worked out very much in the spirit of Greek tragedy was remarked by Henry Nettleship ninety-nine years ago. * I cannot therefore lay claim to novelty in my choice of subject, nor yet do I intend simply to rearrange kaleidoscopically the many detailed discussions of this subject which can be found in various places, notably in what I like to think of as Pease’s Chrestomathy, that is to say his introduction to his massive commentary on book 4. 2 Austin’s and Williams’s commentaries on the individual books, Austin’s article on the Wooden Horse, 3 and Michael Wigodsky’s ‘Vergil and Early Latin Poetry,’4 (which has some helpful remarks on Virgil and Greek tragedy also) are all distinguished contributors in this field. At the same time, and with the greatest possible respect to one of our Vice- Presidents, Dr Michael Grant, I feel bound to protest in the strongest terms at the suggestion which he makes twice on one page of his recent book ‘Roman Myths’ 5, that there may have been some tragic play on the subject of Dido and Aeneas in existence when Virgil wrote: better to accept his reservation that such an hypothesis may well be an unfounded reflection on Virgil’s originality. True, we all recognize that the Aeneid is an inspired synthesis, and I shall presently make a suggestion of my own about Virgil’s relationship to contemporary Roman drama. - 
												
												Ornithological Approaches to Greek Mythology: the Case of the Shearwater
Ornithological Approaches to Greek Mythology: The Case of the Shearwater In the Odyssey 5.333-337, Ino-Leucothea rescues Odysseus from a terrifying storm while in the shape of an αἴθυια (aithyia) and gives him a magic veil so he can reach the land of the Phaeacians. But what bird is an aithyia, and, perhaps more importantly, can this information help us understand this passage of the Odyssey and other ancient texts where the bird appears? Many attempts at identifying Ino-Leucothea’s bird shape have been made. Lambin (2006) suggests that the name of byne that is occasionally (e.g. Lyc. Al. 757-761) applied to the goddess highlights her kourotrophic functions. In a more pragmatic way, Thompson (1895) suggests that the aithyia is a large gull such as Larus marinus. This identification is based on Aristotle (H.A. 7.542b) and Pliny (10.32) who report that the bird breeds in rocks by the sea in early spring. However, in a response to Thompson’s identification of a different bird, the ἐρωδιός (erôdios) as a heron, Fowler stresses that this bird nests in burrows by the sea (Pliny 10.126-127) and therefore must be Scopoli’s shearwater, Puffinus kuhli, now renamed Calonectris diomedea. The similarities between the aithyia and the erôdios prompted Thompson not only to reconsider his identification of the erôdios as a shearwater but also to argue that other bird names such as aithyia, memnôn, and mergus must also correspond to the shearwater. Thompson (1918) comes to this conclusion by taking a closer look at the mythological information concerning these birds. - 
												
												Iliad Teacher Sample
CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32 - 
												
												The Application of Greco-Roman Mythology Learning in English Vocabulary Teaching from the Perspective of Etymology
International Journal of Languages, Literature and Linguistics, Vol. 7, No. 1, March 2021 The Application of Greco-Roman Mythology Learning in English Vocabulary Teaching from the Perspective of Etymology Jia Fan and Sun Yu mythology account for nearly 30% of the total‖ [3]. As one Abstract—Language is the carrier of culture and culture of the sources of European civilization, in the process of nourishes language. According to statistics, 56% of the English language development, Greco-Roman mythology commonly used 10,000 English words are adopted from Latin greatly enriches English vocabulary, and injects fresh blood and ancient Greek, which are the carrier languages of Roman civilization and Greek civilization respectively. Greco-Roman into English expression. A large quantity of words and mythology, with its rich cultural connotation, permeates all phrases derived from Greco-Roman mythology entered into aspects of people's social life in English-speaking countries and English vocabulary. Therefore, it is of great practical becomes a source of vitality for the expansion of English significance to integrate Greco-Roman mythological vocabulary. Etymology, the scientific study of the origin of learning into English vocabulary learning. words, is crucial in English vocabulary teaching, as etymological study improves vocabulary learning. This paper B. Research Objective adopts the methodology of literature research to gather materials about English vocabulary teaching methods, This paper aims to classify English vocabulary from etymology theory, and Greco-Roman mythological origin of Greco-Roman mythology systematically and apply English vocabulary. In order to better explain the cultural Greco-Roman mythology to English vocabulary teaching connotation of words in English vocabulary teaching, this from the perspective of etymology, so as to further promote paper proposes method of applying Greco-Roman mythology vocabulary teaching and learning. - 
												
												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 . - 
												
												1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. - 
												
												Brothers Fighting Together in the Iliad
BROTHERS FIGHTING TOGETHER IN THE ILIAD I We find in the Iliad numerous pairs of brothers (or half brothers on the father's side, or first cousins on the father's side) fighting together on foot or in the combination of chario teer-paraibates 1). And this is not confined to the men who are said to have taken part in the Trojan war, but it embraces the "mythical world of the past" 2), that of the demigods 3), the rivers 4) and even the gods 5). Moreover, if we turn to the leaders of the various groups of Greeks and Trojans, as given in book 11, we find that a 1). Such for example are: Ajax Telarnonius and Teucer (the Atav'ts, cf. p. 291), Mynes and Epistrophus (II 692f.), Phegeus and Idaeus (V 10f.), Echemon and Chromios (V 159 f.), Krethon and Orsilochus (V 542 f,), Aesepus and Pedasus (VI 21 f.), Hector and Alexander (VI 514 f., cf. VII 1 f.), Ascalaphus and lalmenus (IX 82f., cf. II 512), Peisandrus and Hip polochus (XI 122 f.), Hippodamus and Hypeirochus (XI 328 f.), Charops and Socus (XI 426 f.), the Molione (XI 750, 709 f.; XXIII 638 f.), Polybus, Agenor and Akarnas (XI 59 f.), Helenos and Deiphobus (XII 94 f,), Archelochus and Akamas (XIV 463 f.), Hector and Cebriones (XII 86 f.), Deiphobus and Polites (XIII 533 f.), Podarces and Iphiclus (XIII 693 f,), Deiphohus and Helenos (XIII 780 f.), Ascanius and Morys (XIII 792 f.), Atymnius and Maris (XVI 317 f.), Antilochus and Thrasymedes (XVI 322; XVII 377 f.; XVII 705), Euphorbus and Polydamas (XVII 1 f.), Chromius and Aretus (XVII 492 f.), Aretus and Hector (XVII 516), Polydorus and Hector (XX 407 f,), Laogonus and Dardanus (XX 460 f.), or Deiphobus and Hector (XXII 226 f.). - 
												
												A Collection of Curricula for the STARLAB Greek Mythology Cylinder
A Collection of Curricula for the STARLAB Greek Mythology Cylinder Including: A Look at the Greek Mythology Cylinder Three Activities: Constellation Creations, Create a Myth, I'm Getting Dizzy by Gary D. Kratzer ©2008 by Science First/STARLAB, 95 Botsford Place, Buffalo, NY 14216. www.starlab.com. All rights reserved. Curriculum Guide Contents A Look at the Greek Mythology Cylinder ...................3 Leo, the Lion .....................................................9 Introduction ......................................................3 Lepus, the Hare .................................................9 Andromeda ......................................................3 Libra, the Scales ................................................9 Aquarius ..........................................................3 Lyra, the Lyre ...................................................10 Aquila, the Eagle ..............................................3 Ophuichus, Serpent Holder ..............................10 Aries, the Ram ..................................................3 Orion, the Hunter ............................................10 Auriga .............................................................4 Pegasus, the Winged Horse..............................11 Bootes ..............................................................4 Perseus, the Champion .....................................11 Cancer, the Crab ..............................................4 Phoenix ..........................................................11 Canis Major, the Big Dog - 
												
												Metempsychosis in Aeneid Six Author(S): E
Metempsychosis in Aeneid Six Author(s): E. L. Harrison Reviewed work(s): Source: The Classical Journal, Vol. 73, No. 3 (Feb. - Mar., 1978), pp. 193-197 Published by: The Classical Association of the Middle West and South Stable URL: http://www.jstor.org/stable/3296685 . Accessed: 12/02/2013 21:07 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Classical Association of the Middle West and South is collaborating with JSTOR to digitize, preserve and extend access to The Classical Journal. http://www.jstor.org This content downloaded on Tue, 12 Feb 2013 21:07:57 PM All use subject to JSTOR Terms and Conditions METEMPSYCHOSISIN AENEID SIX The purposeof this note is to suggest that, in orderto understandmore clearly the lines in which Virgil preparesthe way for his paradeof heroes in Book Six (679-755), we need to appreciatethe difficulties presentedby the introduction of such an episode, and consider how he handled them.' Although we can only surmise, it seems highly probablethat, influencedby the practice at the funerals of prominentRomans of having relatives walk in processionwearing portrait-masks of the dead man's ancestors,2Virgil decided to stage a similar spectacle on a granderscale, including in its scope the great figures of Rome's past. - 
												
												Suffering, Pity and Friendship: an Aristotelian Reading of Book 24 of Homer’S Iliad Marjolein Oele University of San Francisco, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of San Francisco The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Philosophy College of Arts and Sciences 11-2010 Suffering, Pity and Friendship: An Aristotelian Reading of Book 24 of Homer’s Iliad Marjolein Oele University of San Francisco, [email protected] Follow this and additional works at: http://repository.usfca.edu/phil Part of the Classics Commons, and the Philosophy Commons Recommended Citation Oele, Marjolein, "Suffering, Pity and Friendship: An Aristotelian Reading of Book 24 of Homer’s Iliad" (2010). Philosophy. Paper 17. http://repository.usfca.edu/phil/17 This Article is brought to you for free and open access by the College of Arts and Sciences at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Philosophy by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Suffering, Pity and Friendship: An Aristotelian Reading of Book 24 of Homer’s Iliad Marjolein Oele University of San Francisco [email protected] Book 24 of Homer’s Iliad presents us with one of the most beautiful and chilling scenes of the epic: the scene where Achilles and Priam directly face one another at the point when the suffering (pathos) of each seems to have reached its pinnacle. Achilles’ suffering is centered on the loss of his best friend Patroclus, while the suffering of Priam – although long in the making due to the attack on his city and his family – has reached a new level of despair with the loss of his dearest son Hector. - 
												
												Five Modern Adaptations of Ancient Myths Synchronos Mythos
Five Modern Adaptations of Ancient Myths Synchronos Mythos Five Modern Adaptations of Ancient Myths Polytechnic School March 3rd 2009 STAFF CREDITS Ezra Rawitsch……..Editor in Chief Allie Hodgen…..Copy Editor Emily Beljak…..Copy Editor Preston Harvey……..Art Director Daniel Stoffel…...Team Manager Table of Contents Opening the Earth By Allie Page 4-5 Conquest for the Golden Apple By Preston Page 6-7 The Epic Apple Hunt By Daniel Page 8 - 9 A Man Who Knew What Was Right By Emily Page 10 - 11 30,000,000 Gone By Ezra Page 12 - 13 Opening the Earth By Allie Trapped in the underworld With nowhere to go They were left behind, And chained to the wall Zeus had done this to save his throne For if they had escaped Zeus’s rule would surly fall But slowly, yet surely The chains started to erode And after hundreds of centuries The Cyclops emerged out of their prison The one eyed monsters split open the earth But as soon as they did They believed themselves cursed The sun beat down on them Seeping into their skin They had nowhere to go So the went back down Into the dark flames of the earth The Cyclops were raging So they stomped and ramped about Thus creating earthquakes whenever the sun comes out 4 5 Conquest for the Golden Apple Hercules had a commission A task to get a consecrated apple For this wasn’t an easy mission Because the apples would terminate a human life Upon one single touch He conjured up a marvelous plan And advised Atlas to get him one But Atlas had to hold up the sky Hercules knew this was no easy chore For it was one of his 12 labors