Questioning the 'Witch' Label: Women As Evil in Ancient Rome
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Translated by Wordport from Nota Bene Ver. 4 Document EPODE.599
http://akroterion.journals.ac.za THE INDIVIDUAL AND SOCIETY: AN ORGANISING PRINCIPLE IN HORACE’S EPODES? Sjarlene Thom (University of Stellenbosch) Over the years there have been various attempts to make sense of the Epodes as a collection, as well as of individual poems.1 Scholars who have focussed on the collection as a whole have tried generally grouping the poems according to metre2 or to subject matter into either different areas of criticism or different categories of invective.3 The subsequent scholarly debate centred on arguments why individual groups were identified and why a specific poem should fall into a specific group. My personal reaction to these attempts to structure the collection according to groups is rather negative for the following simple reason: too many persuasive alternatives are possible. No musical composition could at one and the same time be described for instance as a sonata, a suite or a prelude and fugue. If a piece of music displays characteristics of all these musical forms, a broader organisational principle has to be found to accommodate the individual sections. In the same way then – since so many different possible ways have been identified in which to pack out various groups of Epodes – it seems to make more sense to look at the Epodes as a unit in which a variety of cross-references or, to continue the musical analogy, variations on a theme, all support a central statement. There have also been scholars who focused on individual poems who have come up with striking or even ingenious individual interpretations, but more often than not they then ignored or discounted the larger unit in which the poems functioned. -
Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack. -
Magic in Private and Public Lives of the Ancient Romans
COLLECTANEA PHILOLOGICA XXIII, 2020: 53–72 http://dx.doi.org/10.18778/1733-0319.23.04 Idaliana KACZOR Uniwersytet Łódzki MAGIC IN PRIVATE AND PUBLIC LIVES OF THE ANCIENT ROMANS The Romans practiced magic in their private and public life. Besides magical practices against the property and lives of people, the Romans also used generally known and used protective and healing magic. Sometimes magical practices were used in official religious ceremonies for the safety of the civil and sacral community of the Romans. Keywords: ancient magic practice, homeopathic magic, black magic, ancient Roman religion, Roman religious festivals MAGIE IM PRIVATEN UND ÖFFENTLICHEN LEBEN DER ALTEN RÖMER Die Römer praktizierten Magie in ihrem privaten und öffentlichen Leben. Neben magische Praktik- en gegen das Eigentum und das Leben von Menschen, verwendeten die Römer auch allgemein bekannte und verwendete Schutz- und Heilmagie. Manchmal wurden magische Praktiken in offiziellen religiösen Zeremonien zur Sicherheit der bürgerlichen und sakralen Gemeinschaft der Römer angewendet. Schlüsselwörter: alte magische Praxis, homöopathische Magie, schwarze Magie, alte römi- sche Religion, Römische religiöse Feste Magic, despite our sustained efforts at defining this term, remains a slippery and obscure concept. It is uncertain how magic has been understood and practised in differ- ent cultural contexts and what the difference is (if any) between magical and religious praxis. Similarly, no satisfactory and all-encompassing definition of ‘magic’ exists. It appears that no singular concept of ‘magic’ has ever existed: instead, this polyvalent notion emerged at the crossroads of local custom, religious praxis, superstition, and politics of the day. Individual scholars of magic, positioning themselves as ostensi- bly objective observers (an etic perspective), mostly defined magic in opposition to religion and overemphasised intercultural parallels over differences1. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Writing in the Street: The Development of Urban Poetics in Roman Satire Permalink https://escholarship.org/uc/item/7x66m4vs Author Gillies, Grace Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Writing in the Street: The Development of Urban Poetics in Roman Satire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Grace Gillies 2018 © Copyright by Grace Gillies 2018 ABSTRACT OF THE DISSERTATION Writing in the Street: The Development of Urban Poetics in Roman Satire by Grace Gillies Doctor of Philosophy in Classics University of California, Los Angeles, 2018 Professor Amy Ellen Richlin, Chair My dissertation examines Roman imperial satire for its relationship with non-elite street culture in the Roman city. I begin with a lexicon of sites and terms related to Roman concepts of disgust in the city, as they appear in the satiric sources I am working with. Then, in my next four chapters, I work chronologically through the extant satires to show how each author reflects or even appropriates practices from Roman street culture. Satirists both condemn parts of the city as disgusting—the parts and people in them who ignore social and cultural boundaries—and appropriate those practices as emblematic of what satire does. The theoretical framework for this project concerns concepts of disgust in the Roman world, and draws primarily on Mary Douglas (1966) and Julia Kristeva (1982). The significance of this work is twofold: (1) it argues that satire is, far from a self-contained elite practice, a genre that drew heavily on non-elite urban ii culture; (2) that it adds to a fragmentary history of Roman street culture. -
Canidia: Meta-Muse of Anti-Elegy
Studia Antiqua Volume 18 Number 1 Article 4 July 2019 Canidia: Meta-Muse of Anti-Elegy Hanna Seariac Follow this and additional works at: https://scholarsarchive.byu.edu/studiaantiqua Part of the Biblical Studies Commons, Classics Commons, History Commons, and the Near Eastern Languages and Societies Commons BYU ScholarsArchive Citation Seariac, Hanna. "Canidia: Meta-Muse of Anti-Elegy." Studia Antiqua 18, no. 1 (2019): 23-37. https://scholarsarchive.byu.edu/studiaantiqua/vol18/iss1/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Studia Antiqua by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. CANIDIA: META-MUSE OF ANTI-ELEGY HANNA SEARIAC Hanna Seariac is earning a BA in classical studies and philosophy from Brigham Young University. She hopes to pursue a PhD in classical studies and a career as a professor. Abstract: This paper attempts to analyze Canidia as the meta-muse of anti-elegy (rather than Paule’s characterization of her as the “anti- muse of elegy”) by looking at all of her appearances within Horace’s works. Canidia is compared to other elegiac muses to show her transformation into more of an iambic figure. She is also exam- ined within the context of Grecian witchcraft. She disgusts Horace, but he still continues to write poetry about her. She must there- fore be viewed as a muse who combats the norms of elegiac poetry. INTRODUCTION he Epodes, the classical poet Horace’s collection of poems that were drawn Tfrom bucolic predecessors, do not disgust nearly as much as his muse, Canidia the witch, does. -
The Ghosts of the Past : Latin Literature, the Dead, and Rome’S Transition to a Principate / Basil Dufallo
T H E G H O S T S O F T H E PA S T Duffalo_final.indb 1 12/18/2006 3:45:53 PM Duffalo_final.indb 2 12/18/2006 3:45:53 PM T H E G H O S T S O F T H E PA S T Latin Literature, the Dead, and Rome’s Transition to a Principate BASIL DUFALLO THE OHIO STATE UNIVERSITY PREss Columbus Duffalo_final.indb 3 12/18/2006 3:45:54 PM Copyright © 2007 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dufallo, Basil. The ghosts of the past : Latin literature, the dead, and Rome’s transition to a principate / Basil Dufallo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1044-4 (cloth : alk. paper) ISBN-10: 0-8142-1044-9 (cloth : alk. paper) ISBN-13: 978-0-8142-9124-5 (cd-rom) ISBN-10: 0-8142-9124-4 (cd-rom) 1. Latin literature—History and criticism. 2. Dead in literature. I. Title. PA6029.D43D84 2007 870.9'3548—dc22 2006018337 Cover design by Janna Thompson-Chordas. Text design by Jennifer Shoffey Forsythe. Typeset in Adobe Minion Printed by Thompson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Duffalo_final.indb 4 12/18/2006 3:45:54 PM FOR C. A. S. AND W. S. D. -
MARILYN B. SKINNER Canidia's Debut: Horace Satires 1.8*
MARILYN B. SKINNER University of Arizona Canidia’s Debut: Horace Satires 1.8* The witch Canidia, a recurrent bogy in Horace’sEpodes (3,8; 5 and 17 passim) and Satires (I 8 passim; II 1,48; 8,95) has received considerable attention in recent scholarly literature. Dismissing the scholiasts’ identification of her with a certain Gratidia, a per- fume-seller from Naples (Porph. on Epod. 3,7-8; Fraenkel [1957] 61-64), many readers now approach her as a metapoetic figure, a «written woman» embodying «an indecorous poetics against which Horace tries to define his own practice» (Oliensis [1991] 110; cf. Oliensis [1998] 94-96). On the level of genre she is perceived as a «black Muse of iambic» (Barchiesi [2009] 246) and, on the level of political allegory, as symptomatic of «the blackness and crime from which the Romans must be purged» (Johnson [2011] 15, 178). Essential to such readings is the complex metaphorical significance of her name, which could have multiple origins: canere, referring to the imprecations (carmina) she chants; canis, both vile bitch and dogged iambicist (Oliensis [1991]; on vowel quantity see Watson [2005] 197); Canicula, the dog-star that saps virility; canities, a senescence afflicting not merely her and her fellow hags but Rome itself (Mankin [1995] 300-301). Though it does not contest any of those serendipitous meanings, my essay pursues a more historical and pragmatic line of inquiry. Whatever its expanded metaphoric func- tion in subsequent works, I will argue, the appellation «Canidia» in Satires I, Horace’s earliest poetic collection, is chiefly topical. -
A Roman in Name Only’, Eras Edition 13, Issue 2, June 2012
Dustin Cranford, ‘A Roman in Name Only’, Eras Edition 13, Issue 2, June 2012 A Roman in Name Only: An Onomastic Study of Cultural Assimilation and Integration in Roman Spain Dustin Cranford (The University of North Carolina at Greensboro, NC, USA) Abstract: This paper studies the evolution of naming practices in Roman Spain as way to measure the limits of Romanization and determine the persistence of the indigenous culture. Onomastic evidence suggests that the indigenous population actively integrated itself into the Roman culture on its own terms, taking and leaving aspects of the Roman nomenclature at will in order to display romanitas, or Romanness. Upon close inspection, the names of many Hispano-Romans reveal a population that exhibited volition and agency in the process of Romanization. Variations in Roman naming components (e.g. voting tribes, filiations, tria nomina, etc.) show a selective adoption of the Roman nomenclature, while indigenous stems point to the persistence of many aspects of the indigenous culture. While there are many definitions and theories to Romanization, this study adopts what Leonard Curchin has described as the Integration Model, where the exchange between the Roman and indigenous culture produces a third, hybrid culture, or a provincial culture. Naming customs in Roman Spain point to the emergence of this provincial culture, one that adopted many features of Roman society, but equally preserved aspects of native Iberian customs. This study will explore various aspects of this topic, including the history of Roman Spain, the various parts of Roman nomenclature, and the actual onomastic evidence found in the Spanish provinces. -
Illinois Classical Studies
— Quo, Quo Scelesti Ruitis: The Downward Momentum of Horace's Epodes' DAVID H. PORTER I. The Epodes' Structure of Descent It is clear that Horace has carefully arranged his collection of Epodes} Most obviously, there is the metrical sequence, with the first ten poems using an iambic couplet and the concluding seven ranging widely combinations of iambic and dactylic elements in 11 and 13-16, dactyls in 12, straight iambic trimeters in 17. There is also, as in Horace's other collections, the placement of Maecenas poems in positions of special importance. Epode 1, addressed to Maecenas as he sets off for Actium, begins the collection, and Epode 9, also to Maecenas, but this time celebrating the victory at Actium, is at the exact center. Moreover, these two "public" Maecenas poems (compare the more private 3 and 14) interlock with the two other Epodes that have a national theme, 7 and 16, both of which focus on the agony of the civil wars.^ From a different * I am pleased here to record my gratitude to ICS's two anonymous readers. Their comments and suggestions have led to significant improvements in this final version. ' Among many, see W. Port, "Die Anordnung in Gedichtbiichern augusteischer Zeit," Philologus 81 (1926) 291-96; R. W. Carrubba, The Epodes of Horace: A Study in Poetic Arrangement (The Hague 1969); K. Biichner, "Die Epoden des Horaz," in Werkanalysen. Studien zur romischen Literatur 8 (Wiesbaden 1970) 50-96; E. A. Schmidt, ""Arnica vis pastoribus: Der Jambiker Horaz in seinem Epodenbuch," Gymnasium 84 (1977) 401-23; H. Dettmer, Horace: A Study in Structure (Hildesheim 1983) 77-109; D. -
The Role of Internal Politics in American Diplomacy
Horace’s Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3 Blanche Conger McCune Augusta, Georgia B.A., Wheaton College, 2007 M.A., University of Virginia, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Classics University of Virginia May, 2014 i ©Copyright by Blanche Conger McCune All rights reserved May 2014 ii ABSTRACT This dissertation examines repeated mythological references in the first three books of Horace’s Odes. Several mythological figures occur more than once in the Odes; those studied in this dissertation are Daedalus and Icarus, Prometheus, Tantalus, Hercules, and Castor and Pollux. I argue that in Odes 1-3 recurrent myths constitute part of a personal lexicon, a mythological vocabulary Horace uses to speak about themes such as hubris, poetry, and immortality; for example, Daedalus and Icarus, Prometheus, and Tantalus are consistently linked with immoderation, and Hercules and the Dioscuri are consistently emblematic of complementary aspects of Augustus’ rule and of his future deification. This mythological lexicon can be read across poems so that the interpretation of a mythological figure in one poem can aid in understanding the use of the same mythological figure in another poem, and the collective effect of all of the uses of that figure is itself something that can be analyzed and interpreted. iii ACKNOWLEDGEMENTS The first word of thanks goes to my advisor, Jenny Strauss Clay, whose Odes seminar in the spring of 2010 first taught me how to love this seemingly impenetrable poet. She has consistently supported and guided me, since I first embarked on this project, even during one year when neither of us was in residence in Charlottesville. -
2019 Princeton Certamen Advanced Round One 1
2019 PRINCETON CERTAMEN ADVANCED ROUND ONE 1. Author, auction, and augment are all derived from what Latin verb with what meaning? AUGEO - INCREASE B1: Article and articulation are derived from what Latin noun with what meaning? ARTUS-LIMB B2: Artillery and inertia are derived from what Latin noun with what meaning? ARS-SKILL 2. Which Roman author, born to a plebeian family, despised aristocracy, writing that the Metelli had become consuls by fate, in addition to composing an epic on the First Punic war titled Bellum Punicum? (GNAEUS) NAEVIUS B1: The Metelli responded to Naevius’s insult by imprisoning Naevius, who was ultimately exiled to what city in North Africa? UTICA B2: Cicero in his work Brutus compared Naevius’s Bellum Punicum to a statue of Myron, and he compared what earlier author’s translation of the Odyssey to a primitive carving of Daedalus? LIVIUS ANDRONICUS 3. Symmachus’ speech regarding the altar of victory, the abolishment of the Olympic games, and defeating the usurpers Eugenius and Magnus Maximus all occurred during the reign of what emperor, the last to rule over a unified Roman empire? THEODOSIUS I B1: Theodosius I split the empire between his two sons. Name the two sons and the portion of the empire each respective son obtained. HONORIUS (WEST) & ARCADIUS (EAST) B2: In what year did Theodosius order the closure of all pagan temples? 391 A.D 4. Dēscrībāmus nunc proprietātēs dictiōnum in hāc sententiā: “Deī sub nūmine viget.” Quā persōnā est "viget"? TERTIĀ B1+B2: For five points each: Quibus cāsibus sunt "deī" et "nūmine"? GENITĪVŌ and ABLĀTĪVŌ [RESPECTIVELY; FIVE POINTS FOR EACH CORRECT] 5. -
The Greatness and Decline of Rome Volume 4
FHE GREATNES AND. DECLIN OF ROME GOG LI ELMO THE GREATNESS AND DECLINE OF ROME THE GREATNESS AND DECLINE OF ROME By GUGLIELMO FERRERO I. THE EMPIRE-BUILDERS II. JULIUS CAESAR III. THE FALL OF AN ARISTOCRACY The Press on Volumes I. and II. "The characters are made to live upon their stage and their innermost souls are laid bare with the ruthless penetration of Balzac ; situations and classes are summed up in incisive para- graphs. Whatever be the reader's opinion, he cannot help being struck by the force with which Signer Ferrero puts his argument and the admirable way in which he supports it from authorities. Other merits in the work can only be named the insight into the social life and the psychology of the Roman people, the full justice done to Lucullus and Cicero, and the excellent appendices. Mr. Zimmern has done his work most admirably, and has succeeded in reproducing, in a great measure, the vivacity of the original." Times. " The reader who starts to read the young Italian scholar's book will find a fresh and vigorous treatment of a great subject, with a new handling of the evidence. The whole book is very stimulat- A thenteum. ing."" Everywhere he gives us the impression of mastery of his com- plicated subject. The great merit of the book is that it is not only scholarly, but also thoroughly readable. History is meant to be read, and no amount of laborious exposition by the most pains- taking specialist is of any use, if the specialist cannot write." Notes and Queries.