Success, Failure, and Obedience in Georgics Book IV
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Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
Queer Reproductions in Vergil's Georgics and Brian Britigan's Golden
Vol. 1 No. 1 Summer|Été 2021 - 26 - Queer Reproductions in Vergil’s Georgics and Brian Britigan’s Golden Clara Bosak-Schroeder Introduction1 Minneapolis-based artist Brian Britigan has created an oeuvre of fantastic creatures, from the alien beauties of Miss Space Teen Supreme (2015) to lion griffins and skeletal mermaids in Celestial Spheres (2016). But perhaps none will excite scholars of the environmental humanities more than Golden [Fig. 1], one of six paintings for Beyond the Western Lands, a group show held in 2012 at Seattle’s SOIL Gallery.2 In Golden, an ox or cow looks in the direction of the viewer, though not into our eyes. Its body has been severed part-way through the torso and hangs suspended, we know not from where. Bees have colonized the body’s interior and swarm in both foreground and background, while honey drips from its nostrils. Inverted flowers adorn the forehead and a tag reading “46” under another number, “522,” is visible in the left ear. I first encountered this painting while doing a Google image search for “bugonia,” a Latin term meaning “ox- or cow-born” that refers to the spontaneous generation of bees from a dead bovine. The Google algorithm may have found this image through an interview Britigan gave on artsyo.com in 2013. The interview references bugonia and implies that Britigan himself mentioned it to the interviewers: [Britigan’s] impossible-to-miss painting Golden (see below) sparked a long conversation and subsequent post-show research about the origins of the myth that beehives can be spontaneously -
The Copa: an Introduction and Commentary
THE COPA: AN INTRODUCTION AND COMMENTARY by FRANCES J. GRUENEWALD B.A., University of British Columbia, 1972 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1975 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date AlfJL 3L<\t /<?7S. ABSTRACT The purpose of this thesis is two-fold: firstly, to make a general study of the Copa with a view to determining, as far as is possible, its authorship and date, and,secondly, to attempt a detailed exegesis of its contents. The first Chapter contains an introduction to the MSS tradi• tion of the Appendix Vergiliana, and a brief discussion of the statements of Donatus and Servius concerning Vergilian authorship of the poems. In Chapter 2 the question of the authorship of the Copa is considered. The views of various scholars, who use as tests of authenticity studies of content and style, vocabulary, metre and parallel passages, are discussed. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
The Annual of the British School at Athens A
The Annual of the British School at Athens http://journals.cambridge.org/ATH Additional services for The Annual of the British School at Athens: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A Visit to Cyrene in 1895 Herbert Weld-Blundell The Annual of the British School at Athens / Volume 2 / November 1896, pp 113 - 140 DOI: 10.1017/S0068245400007115, Published online: 18 October 2013 Link to this article: http://journals.cambridge.org/abstract_S0068245400007115 How to cite this article: Herbert Weld-Blundell (1896). A Visit to Cyrene in 1895. The Annual of the British School at Athens, 2, pp 113-140 doi:10.1017/S0068245400007115 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ATH, IP address: 131.173.48.20 on 15 Apr 2015 ' itfS i^>- tv lli-JOTb. V**»-iJ IhUS ntt < POINTS'Si/HEHCEl PHOTMOHAPMS ARE British School at Athens, Annual II. PLATE IV. RUINS OF CYRENE: GENERAL PLAN. A VISIT TO CYRENE IN 1895. A VISIT TO CYRENE IN 1895. BY HERBERT WELD-BLUNDELL. PLATE IV. THE difficulties that hedged round the Garden of the Hes- perides in the Greek seem still destined to make the Cyrenaica, a country to which the eyes of archaeologists have so wistfully turned, almost as inaccessible to the modern traveller as to the heroes of ancient fable. The classic maidens have vanished, the Garden is some- what run to seed, but the dragon of early legend is there, in the person of the native official who guards the historical treasures that lie strewn over the rich sites of the Pentapolis, stately tombs that worthless Arabs kennel in or plunder for statues and vases, to be peddled to Maltese or Greeks for (literally) home consumption or foreign export. -
A Marvelous Scene of Little Things Honeybees and the Natural Order in the Fourth Georgic of Virgil
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Minnesota Digital Conservancy Colin Catlin Senior Honors Thesis May 12, 2017 Submitted under the supervision of Professor Spencer Cole to the University Honors Program at the University of Minnesota-Twin Cities in partial fulfillment of the requirements for the degree of BachelorColin Catlin of Arts in Classics Image: A renaissance interpretation of Virgil observing bees, from a manuscript of his complete works completed in Bruges by a follower of Willem Vrelant (illuminator); c. 1450-1475. National Library of the Netherlands, The Hague, KB, 76 E 21 I-III A Marvelous Scene of Little Things Honeybees and the Natural Order in the Fourth Georgic of Virgil Catlin 1 Colin Catlin Senior Thesis Spring 2017 A Marvelous Scene of Little Things1 Honeybees and the Natural Order in the Fourth Georgic of Virgil “If little things can be compared to great, Innate desire to work for the common wealth Inspires the bees, and each of them has his role.” Georgics 4.176-82 Virgil makes no secret that he attempts to justify the new imperial order established by Augustus Caesar in several of his works. In his Aeneid, Trojan ancestry, a voyage to the underworld, the great shield of Aeneas forged by Vulcan, and wars in Latium all bear elements leading inevitably to the triumph and sole rule of Augustus. In his earlier Georgics, however, it is not great movements led by the gods which ring in a new golden age. Instead, it is the small movements of honeybees in the hive, set at the end of a tale of pastoral prosperity and disruption which carries the weight of the new Roman world on its back. -
TSJCL 2006 Upper Rd 1 Pg 1 2006 Texas State JCL Certamen Upper
2006 Texas State JCL Certamen Upper Round 1 TU # 1: As she was crossing a body of water, what did Helle fall off of? A GOLDEN RAM B1: Whose threats were Phrixus and Helle escaping? INO, THEIR STEP-MOTHER B2: What did Phrixus do when he safely landed in Colchis? SACRIFICED THE RAM TU # 2: Where did Antony win a battle and, three weeks later, win another, bringing to an end a civil war in 42 BC? PHILIPPI B1: Soon after this battle, Antony and Octavian removed themselves from their partner in the triumvirate. Who was this partner? LEPIDUS B2: What two relatives of Antony caused trouble the following year by trying to stir up hostility against Octavian? HIS WIFE FULVIA AND HIS BROTHER LUCIUS TU # 3: Which Roman author is described by the following: Caesar seems to have been a guest in his house at one point; he was about 15 years younger than Caesar and seems to have died at age thirty; we have 113 of his poems, many of which mention his affair with a married woman. CATULLUS B1: To whom did Catullus dedicate his book of poems, according to poem 1 in the collection? CORNELIUS NEPOS B2: Translate this line from Catullus: “passer mortuus est meae puellae.” MY GIRL’S SPARROW / DOVE IS DEAD TU # 4: Give all the participles of the verb ferÇ, ferre. FERNS, L}TUS, L}TâRUS, FERENDUS B1: Give all the participles for the verb arbitror. ARBITR}NS, ARBITR}TUS, ARBITR}TâRUS, ARBITRANDUS B2: Give all the infinitives for arbitror. ARBITR}R¦, ARBITR}TUS ESSE, ARBITR}TâRUS ESSE TU # 5: What king of Elis remained young forever by choosing perpetual sleep as -
The Elements of Comedy and Parody in the Dionysiaca of Nonnus
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXVII/3 • 2017 pp. 59–71. ISSN 0302-7384 dOI: 10.14746/sppgl.2017.XXVII.3.6 Anna Maria Lasek Adam Mickiewicz University, Poznań THE ELEMENTS OF COMEdY ANd PAROdY IN THE DIONYSIACA OF NONNUS abstraCt. Lasek Anna Maria, The elements of comedy and parody in the dionysiaca of Nonnus. In this article the author presents the elements of comedy and parody in the dionysiaca of Nonnus. The analysis of the passages excerpted from the dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety. keywords: Nonnus; dionysiaka; parody; Ares; Aphrodite. Scholars agree that literary genres have a certain momentum, and that they change. Any author within a genre develops and transforms it to create a work combining traditional genre features with new and unexpected elements.1 This way, every implementation of a genre means bringing it up to date and sets anew its boundaries. This phenomenon is particularly clearly visible in a work written by Nonnus of Panopolis in late Antiquity. As its author highlights in the proemium, this work is based on the principle of poetic variety – varietas (ποικιλία) This predilection for variety was reflected in the poet’s style, the richness of synonyms appearing in the dionysiaca; his striving for diversification in presenting characters, situations and things; and the composition of the work.2 Undoubtedly, as results from the same principle of diversity – ποικιλία3 the term epos is not sufficient for dionysiaca. In the entire body of the work, one can trace elements of various genres, and even entire passages bearing their characteristics so clearly that scholars have not hesitated to identify them with idyll, epigram, etc. -
HESPERIDES and HEROES: a NOTE on the THREE-FIGURE RELIEFS 77 Knife, That This Is a Moment of Dark Foreboding
HESPERIDESAND HEROES: A NOTE ON THE THREE-FIGURERELIEFS (PLATES 11-14) flflHOUGH not a scrap of the original reliefs has been found, Thompson's attri- bution to the Altar of the Twelve Gods of the four famous three-figure reliefs known to us from Roman copies is one of the more important results of the Agora excavations for the history of Athenian sculpture in the late 5th century.1 The dating and interpretation of these reliefs is also vitally related to the history of other monu- ments of the Agora. I should like, therefore, to suggest a modification of Thompson's views on these points. Before Thompson's discovery that the dimensions of the reliefs admirably filled the spaces flanking the east and west entrances in the parapet surrounding the altar (P1. 12, b), the originals had generally been attributed to a choregic monument. This was because two of the reliefs, the Orpheus and Peliad reliefs (P1. 12, d, e), are notably tragic in their impact, including the elements of irony and reversal of fortune which we commonly associate with Attic tragedy. The two others, Herakles, Theseus and Peirithoos in the underworld (P1. 12, a, c) and Herakles in the Garden of the Hesperides (P1. 11, a-d), could also well be drawn from the subjects of tragedies performed in Athens.2 In order to interpret the last two in the same spirit as the first two, however, it was necessary to resort to the subtle language of literary interpretation rather than to the simpler language of art. No one could doubt, on looking at the Peliad with the " ' The Altar of Pity in the Athenian Agora," Hesperia, XXI, 1952, pp. -
Optima Carme: a Reexamination of the Nurse in the Ciris By
OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS BY CASEY LYNN HUGHES Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts Chairperson: Dr. Tara Welch Dr. Anthony Corbeill Dr. Pamela Gordon Date defended: 10 May 2017 The Thesis Committee for CASEY LYNN HUGHES certifies that this is the approved version of the following thesis: OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS Chairperson: Dr. Tara Welch Date approved: 10 May 2017 ii ABSTRACT This thesis examines the Ciris, a Pseudo-Vergilian epyllion of uncertain date, and analyzes the figure of the nurse Carme, a character who has largely been ignored in previous studies of the poem. The Ciris narrates the story of Scylla of Megara and how she betrayed her father, King Nisus, because of her love for Minos, King of Crete. While nurses are typical stock characters in Greek and Roman literature, I will show how the character of Carme becomes more than Scylla’s nurse. Although she embodies the qualities of many nurses from various genres before her, the Ciris poet also expands her role, briefly transforming an otherwise minor character into a second heroine. iii TABLE OF CONTENTS Chapter One: Introduction 1 Chapter Two: Influential Nurses 11 Chapter Three: The Heroine Nurse 32 Conclusion 53 Bibliography 57 Appendix A 60 Appendix B 61 iv Chapter One Introduction The Ciris is a first century B.C. or first century A.D. epyllion about Scylla, who betrays her father Nisus, king of Megara, because of her love for Minos, king of Crete. -
Rethinking Ovid: a Collection of Latin Poetry and Commentary on Composition Anna C
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department May 2006 Rethinking Ovid: A Collection of Latin Poetry and Commentary on Composition Anna C. Everett Macalester College, [email protected] Anna Everett Beek Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Recommended Citation Everett, Anna C. and Beek, Anna Everett, "Rethinking Ovid: A Collection of Latin Poetry and Commentary on Composition" (2006). Classics Honors Projects. Paper 1. http://digitalcommons.macalester.edu/classics_honors/1 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. RethinkingRethinking Ovid: A Collection of Latin Poetry and Commentary on Composition Anna Everett Beek Advised by Nanette Scott Goldman Department of Classics, Macalester College 1 May 2006 Cunct rum Chrone impl cbilissime d vum, scr bend vers s t bi ni hil referunt. TableTable of Contents Introduction 4 Sources and Inspiration Cydippe 7 Dryope 10 Other References 11 Composition 12 The Chosen Meters 17 Poetic Devices 19 Diction and Grammar in Chronologica l Context: Linguistic Matters 22 Imitat io n and Interpretation 26 Historical Background: Ceos 29 Historical Background: Women 31 Conclusion 34 The Poetry Cydippe 35 Dryope 39 Bibliography 41 2 AcknowledgementsAcknowledgements I could not have completed this project without the help of various wonder ful people. While I am certain they know who they are, I must extend much gratitude to these people, and if I have produced any work of quality, these people deserve credit first. -
ARCTOS Acta Philologica Fennica
ARCTOS Acta Philologica Fennica VOL. LI HELSINKI 2017 INDEX Heikki Solin Rolf Westman in Memoriam 9 Ria Berg Toiletries and Taverns. Cosmetic Sets in Small 13 Houses, Hospitia and Lupanaria at Pompeii Maurizio Colombo Il prezzo dell'oro dal 300 al 325/330 41 e ILS 9420 = SupplIt V, 253–255 nr. 3 Lee Fratantuono Pallasne Exurere Classem: Minerva in the Aeneid 63 Janne Ikäheimo Buried Under? Re-examining the Topography 89 Jari-Matti Kuusela & and Geology of the Allia Battlefield Eero Jarva Boris Kayachev Ciris 204: an Emendation 111 Olli Salomies An Inscription from Pheradi Maius in Africa 115 (AE 1927, 28 = ILTun. 25) Umberto Soldovieri Una nuova dedica a Iuppiter da Pompei e l'origine 135 di L. Ninnius Quadratus, tribunus plebis 58 a.C. Divna Soleil Héraclès le premier mélancolique : 147 Origines d'une figure exemplaire Heikki Solin Analecta epigraphica 319–321 167 Holger Thesleff Pivotal Play and Irony in Platonic Dialogues 179 De novis libris iudicia 220 Index librorum in hoc volumine recensorum 277 Libri nobis missi 283 Index scriptorum 286 Arctos 51 (2017) 63–88 PALLASNE EXURERE CLASSEM: MINERVA IN THE AENEID Lee Fratantuono The goddess Minerva is a key figure in the theology of Virgil's Aeneid, though there has been relatively little written to explicate all of the scenes in the epic in which she plays a part or receives a reference.1 The present study seeks to provide a commentary on every mention of Pallas Athena/Minerva in Virgil's poetic corpus, with the intention of illustrating how the goddess plays a crucial role in the unfolding drama of the transition from a Trojan to an Italian identity for the future Rome, and in particular how the Volscian heroine Camilla serves as a mortal incarnation of the Minerva who was a patroness of battles and the military arts.