2015 NJCL CERTAMEN INTERMEDIATE DIVISION ROUND ONE Version 2
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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. -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
THE ODYSSEY of HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD and in NEW YORK by E·P·DUTTON & CO to the RIGHT HONOURABLE
THE ODYSSEY OF HOMER Translated by WILLIAM COWPER LONDON: PUBLISHED by J·M·DENT·&·SONS·LTD AND IN NEW YORK BY E·P·DUTTON & CO TO THE RIGHT HONOURABLE COUNTESS DOWAGER SPENCER THE FOLLOWING TRANSLATION OF THE ODYSSEY, A POEM THAT EXHIBITS IN THE CHARACTER OF ITS HEROINE AN EXAMPLE OF ALL DOMESTIC VIRTUE, IS WITH EQUAL PROPRIETY AND RESPECT INSCRIBED BY HER LADYSHIP’S MOST DEVOTED SERVANT, THE AUTHOR. THE ODYSSEY OF HOMER TRANSLATED INTO ENGLISH BLANK VERSE BOOK I ARGUMENT In a council of the Gods, Minerva calls their attention to Ulysses, still a wanderer. They resolve to grant him a safe return to Ithaca. Minerva descends to encourage Telemachus, and in the form of Mentes directs him in what manner to proceed. Throughout this book the extravagance and profligacy of the suitors are occasionally suggested. Muse make the man thy theme, for shrewdness famedAnd genius versatile, who far and wideA Wand’rer, after Ilium overthrown,Discover’d various cities, and the mindAnd manners learn’d of men, in lands remote.He num’rous woes on Ocean toss’d, endured,Anxious to save himself, and to conductHis followers to their home; yet all his carePreserved them not; they perish’d self-destroy’dBy their own fault; infatuate! who devoured10The oxen of the all-o’erseeing Sun,And, punish’d for that crime, return’d no more.Daughter divine of Jove, these things record,As it may please thee, even in our ears.The rest, all those who had perdition ’scapedBy war or on the Deep, dwelt now at home;Him only, of his country and his wifeAlike desirous, in her hollow grotsCalypso, Goddess beautiful, detainedWooing him to her arms. -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11. -
S Mythological Network
RESEARCH ARTICLE The Odyssey's mythological network Pedro Jeferson Miranda1, Murilo Silva Baptista2, Sandro Ely de Souza Pinto1* 1 Department of Physics, State University of de Ponta Grossa, ParanaÂ, Brazil, 2 Institute for Complex System and Mathematical Biology, SUPA, University of Aberdeen, Aberdeen, United Kingdom * [email protected] Abstract In this work, we study the mythological network of Odyssey of Homer. We use ordinary sta- a1111111111 a1111111111 tistical quantifiers in order to classify the network as real or fictional. We also introduce an a1111111111 analysis of communities which allows us to see how network properties shall emerge. We a1111111111 found that Odyssey can be classified both as real and fictional network. This statement is a1111111111 supported as far as mythological characters are removed, which results in a network with real properties. The community analysis indicated to us that there is a power-law relation- ship based on the max degree of each community. These results allow us to conclude that Odyssey might be an amalgam of myth and of historical facts, with communities playing a OPEN ACCESS central role. Citation: Miranda PJ, Baptista MS, de Souza Pinto SE (2018) The Odyssey's mythological network. PLoS ONE 13(7): e0200703. https://doi.org/ 10.1371/journal.pone.0200703 Editor: Satoru Hayasaka, University of Texas at Austin, UNITED STATES Introduction Received: April 3, 2018 The paradigm's shift from reductionism to holism stands for a stepping stone that is taking researcher's interests to the interdisciplinary approach. This process is accomplished as far as Accepted: July 2, 2018 the fundamental concepts of complex network theory are applied to problems that may arise Published: July 30, 2018 from many areas of study. -
Homer's Odyssey (1911)
HOMERS ODTSSET HOMER'S ODYSSEY " Flashing she fell to the earth from THE GLITTERING HEIGHTS OF OlYMI - Eco HOMER'S ODYSSEY A LINE^FOR-LINE TRANSLATION IN THE METRE OF THE ORIGINAL BY H, B, COTTERILL M.A. EDITOR OF "SELECTIONS FROM THE INFERNO" GOETHE'S "1PHIGENIE" MILTON'S " AREOPAGITICA " MORE'S "UTOPIA" VIRGIL'S "AENE1D" I & VI ETC WITH TWENTY-FOUR ILLUSTRATIONS BY PATTEN WILSON %c I 4 y LONDON : GEORGE G. HARRAP & COMPANY 9 PORTSMOUTH STREET KINGSWAY W.C. MCMXI PRINTED BY BALLANTYNE & COMPANY LTD AT THE BALLANTYNE PRESS TAVISTOCK ST. COVENT GARDEN LONDON TO MY WIFE AND DAUGHTER AND TO ALL THOSE WHOSE LOVE FOR HOMER AND FOR WHATEVER ELSE IN ART IS TRUE AND BEAUTI- FUL GAVE ME THE COURAGE TO UNDERTAKE AND THE ENDURANCE TO COMPLETE THIS VERSION OF THE ODYSSEY * dvr<o "Hroi /xef ttoX\o>v embevofiai dXAd fioi aef-ovatv ii >* i 6(oi, a> "Epyuv fi'if t entfiifJivu). PREFACE 'N his Lectures on Translating Homer Matthew Arnold advises the translator to Preface have nothing to do with side questions—such as the question whether Homer ever existed. I should rather say that, however much interest he may take in antiquarian, or philological, or other side questions, it is best for him to give .a wide berth to theoretics and polemics. Indeed, if the translator is one who ' fulfils Matthew Arnold's requirements by reading Homer perpetually for the ' sake of his poetry — if he has experienced the happiness of long and continuous intimacy with what is so beautiful and so restful—he will shrink with pain the Babel of feel from and the acrimony literary disputation, and will much inclined to say nothing at all, knowing full well that, whatever he may say or may leave unsaid, his work will have to speak for itself. -
Unit 2 Workbook
We tutor for almost any tes SAT, SAT Subject Tests, AC Algebra I, Algebr Pre-Calculus, Calculus, St Chemistry, Organic Chemistry, Physics, Anat Astronomy, American His SSAT Government, Economics, P Reading, Vocabulary, Liter French, Latin, College Es Unit 2 and Study and Organizational Skills. Workbook FOR INSP CELEBRATING 38 YEARS OF NEW YO TEST PREPARATION AND TUTORING v3.0 Welcome to Unit Two of Inspirica’s Upper Level SSAT course! Whether you’re joining us after completing Unit One or just jumping straight into the strategy side of things, we’re excited to get started. Over the next four weeks, we’ll show you the best way to approach every section and question-type on the test, and you’ll have the opportunity to practice and master those techniques alongside an instructor and a couple of classmates. All the homework assignments that you’ll complete during the course can be found in this workbook. If you ever have any questions, send an owl to our headquarters. Or, you know, just email us at [email protected]. We’ll see you in class! ASSIGNMENT 1 For this week’s homework assignment, you’ll be completing a timed mini-test through your Test Innovators account (found at ssatpracticetest.com). Instructions for accessing your TI account and taking the test can be found on the Inspirica course homepage. If you run into any problems or have any questions, drop us a line at [email protected] and one of your instructors will be happy to help you out. Happy testing! ASSIGNMENT 2 ANALOGY PRACTICE 1 1. -
Piracy in the Ancient World
PIRACY IN THE ANCIENT WORLD AN ESSAY IN MEDITERRANEAN HISTORY HENRY A. ORMEROD, M.A. Professor of Greek in the University of Leeds Els ‘ Ρόδον fi irXeiATfi ris Ό\νμπικί>ν ffKOev Τρωτών t&v μάντιν, καί πωί πλίώτίται άσφαλέως. Χώ μάι>Tis, Πρώτον μ ίν, ΐφ-η, Καινην ί χ ΐ την ναΰν καί μη χαμω νο; τοΰ δί θέρους iv iy o v . ToDro yap &ν iroirjs, ή ζα s κάκΐΐσΐ καί <I>oC, &ν μη iretpaτήί (ν π ίλά γίΐ <Τΐ λάβϊΐ- Antb. Pal, ri, it i. LIVERPOOL THE UNIVERSITY PRESS OF LIVERPOOL LTD. LONDON HODDER AND STOUGHTON LTD. Made Mi Printed in Great Britain by C. TINLING St CO., Ltd., fj Victoria Street, Liverpool, and at London and Prcicot T h e present work has grown out of a lecture delivered in Liverpool and published in The Annals of Archaeology and Anthropology, vol. V III (1921). The subject seemed to be of sufficient interest to warrant a larger essay. Sestier’s book, La Piraterie dans VAntiquite (Paris, 1880), still remains the largest treatise on the subject, but is uncritical and contains many inaccuracies. Of other works, Lecrivain’s article, Pirata, in Daremberg and Saglio, is an admirable collection of sources, which is supplemented by Kroll’s Seeraub in Pauly-Wissowa. The best study of the subject is that by Paul Stein, Ueber Piraterie im Altertum (Cöthen, 1891), and Zur Geschichte der Piraterie im Altertum (Bernburg, 1894), which forms the second part. Both these articles were difficult to obtain, but contain an extremely valuable discussion of the evidence. -
"The Argonautica" of Apollonius Rhodius
IH98 THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES From the Library of Henry Goldman, Ph.D. 1886-1972 HORN'S CLASSICAL LIBRARY. "THE ARGONAUTICA" OP APOLLONIUS BHODIUS. TRANSLATED INTO ENGLISH PROSE FEOM THE TEXT OF R. MEKKEL EDWARD P. COLERIDGE, B.A. E COLL. ORIEL, OXON. LONDON : GEORGE BELL AND SONS, YORK STREET, COVENT GARDEN. 1889. CHISWICK PRESS : c. WHITTINGHAM AND co., TOOKS COURT, CHANCERY LANE. Stack Annex TABLE OF CONTENTS. PAGE I. TRANSLATOR'S PREFACE ....... vii II. LIFE OF AFOLLONIUS RHODIUS ix " ' III. Two ANCIENT ARGUMENTS OF THE ARGONAUTICA . xv IV. GENEALOGICAL TREE OF THE ^EOLID.E .... xix V. ROUTE OF THE ARGONAUTS xx VI. APOLLONIUS'S USE OF POSSESSIVE ADJECTIVES AND PER- SONAL PRONOUNS X xiv VII. TRANSLATION OF THE POEM WITH NOTES 1 SHORT LIFE OF APOLLONIUS RHODIUS, WITH A FEW REMARKS ON HIS " ARGONAUTICA." A POLLONIUS RHODIUS was born about B.C. 235, in JL\. the reign of Ptolemy Euergetes, either at Alexandria or at Naucratis. Strabo is in favour of the former, while Athenseus and ./Elian declare for the latter place. He appears to have given himself up at an early age to- literary pursuits, and his choice is scarcely to be wondered at when we reflect upon the age in which he lived and the literary atmosphere in which he found himself. We are not expressly told whether it was choice or necessity that led him to select the career he did, but from the fact that the leading poet of that day took the young aspirant in hand and instructed him in his art, we may fairly infer that Apollonius was a man of some standing and position in life. -
7706-05 Harder En Cuypers.Qxd
INTERACTIONAL PARTICLES AND NARRATIVE VOICE IN APOLLONIUS AND HOMER Martijn Cuypers 1. Introduction Apollonius of Rhodes is in many ways a typical epic narrator. He relates a story about the remote past, at length, in hexameter verse; he is omni- scient, omnipresent, and anonymous; he uses virtually every narrative technique found in the Iliad and Odyssey. Yet on closer inspection, the Argonautica’s narrative voice differs from that of the Homeric epics in important ways. Notably, whereas ‘Homer’ operates largely in the back- ground, Apollonius directs his narrative in an overt and self-conscious manner, and engages in a pervasive and variegated dialogue with his nar- ratees, his sources, the Muses, and other divinities.1 In this paper I will explore this crucial difference from a linguistic perspective. Starting from a survey of particle usage in the Iliad, Odyssey, and Argonautica which distinguishes between words spoken by the narrator (‘narrator-text’) and by characters (‘character-text’), I will analyze how the micro-level of the text reflects the covertness and ‘monophonicity’ of Homer and the overt- ness and ‘diaphonicity’ of Apollonius. My emphasis will be on those particles which are primarily concerned with the interactional level of discourse, i.e. particles which (besides the grammatical and [re]presentational functions which they may also have) address the intentions, beliefs, attitudes, emotions, expectations, commit- ment or knowledge (general and contextual) of the speaker and/or his addressee (in epic: the narrator and his narratees) with respect to the mes- sage exchanged, and so modify the communication between them. I will refer to these particles as ‘interactional particles’.2 In epic, they include pou (poyi), mÆn/mãn/m°n, ∑, dÆ (d∞yen), toi, and yhn.3 These particles have no clear semantic meaning and can only be satisfactorily described in terms of pragmatic or conversational primitives, such as ‘calling for special attention’, ‘expressing commitment’, ‘assuming common ground’ or ‘anticipating disbelief’. -
Who's Who in Classical Mythology
Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt -
At the Source of Nausicaa: the Conception of the Opera by Peggy
At the Source of Nausicaa: The Conceptiona of the Opera by Peggy Glanville-Hicks1 Efrosini Gialidis The opera Nausicaa by Peggy Glanville-Hicks (1912-90) is a multi-layered composition in terms of both musical style and narrative content. The present paper explores Glanville-Hicks' style, as crystallised in Nnusicm, using categories that were hinted at by the composer in her writing. I will firstly provide some brief historical background on Nausicaa's conception, first performance and reception, then seek to pinpoint the opera's influences from diverse art forms such as modernist architecture, Greek folk music and ancient Greek drama, and identify the reasons that led Glanville-Hicks to her unusual choice of musical material. Deborah Hayes has identified three periods in the work of Glanville-Hicks. In 1948 the composer was completing the first, developmental period of her compositional career. In the years 1950-54, she established an individual mature style influenced by non-western music, and from 1955 onwards, Glanville-Hicks' music became more 'romantic' or personally e~pressive.~Nausicaa falls into this last period, and can be considered a mature representation of Glanville-Hicks' style and compositional technique. The style of this work, and its shift from conventional operatic norms, vividly reflect a personal approach to the genre and reveal the strong impact that Glanville-Hicks' reseafih into Greek culture had on her music. Two experimental works were composed before Nausicaa: Sonata for Piano and Percussion (1951) and Letters From Morocco (1952).3In the Sonata, Glanville Hicks experimented with how 'the battery alone could carry a whole structure' while with the latter composition she examined 'how a solo voice could relate to a monophonic melodic body or purely rhythmic accompaniment." Both works share similarities with Nausicaa and it is worth noting some of them as they reveal the process of conception of the opera.