The Wedding of Ceyx
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THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Valerius Flaccus' Argonautica and Statius' Thebaid
Echoing Hylas : metapoetics in Hellenistic and Roman poetry Heerink, M.A.J. Citation Heerink, M. A. J. (2010, December 2). Echoing Hylas : metapoetics in Hellenistic and Roman poetry. Retrieved from https://hdl.handle.net/1887/16194 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/16194 Note: To cite this publication please use the final published version (if applicable). CHAPTER 4 EPIC HYLAS : VALERIUS FLACCUS ’ ARGONAUTICA AND STATIUS ’ THEBAID Ganz erbärmlich ist (...) seine sklavische Abhängigkeit von Vergil. Ich dachte, etwas hat er doch gelesen, als ich VII 149 eine Anspielung auf den Orestes des Euripides, VII 301 auf die Bakchen fand. Aber beides stammt aus der Aeneis IV 479. von Wilamowitz-Moellendorf 1924, II, 165, n. 2 (on Valerius Flaccus’ Argonautica ) 1. Introduction: the epic potential of Valerius’ Hylas In the previous chapters it was argued that Hylas, in the Hellenistic and Augustan ages, was associated with Callimachean poetry. In Roman poetry, these poetics, as is well-known, were interpreted more rigidly than they were conceived of by Callimachus himself as anti-epic. 488 It is therefore striking that in Valerius Flaccus’ Flavian epic Argonautica , Hylas initially seems to fulfil an epic role. When the Greek heroes assemble to join the Argonautic expedition at the beginning of the epic and Hercules and Hylas are introduced, Hylas is described as happily carrying the hero’s weapons: Protinus Inachiis ultro Tirynthius Argis advolat, Arcadio cuius flammata veneno tela puer facilesque umeris gaudentibus arcus gestat Hylas; velit ille quidem, sed dextera nondum par oneri clavaeque capax. -
Character Conflation in Book Four of Ovid's Metamorphoses
Anatomizing the Archetype: Character Conflation in Book Four of Ovid's Metamorphoses Despite the abundance of ancient sculptures and paintings that lend color and shape to the dualities of Hermaphroditus, Ovid's myth of Hermaphroditus is the earliest extant Roman text to fully flesh out the narrative behind this ambiguous figure. Recent discussions of this myth have explored Ovid's attempt to "surprise" his audience much in the manner that sculptures of Hermaphroditus may evoke puzzlement, shock, and laughter upon a viewer's eventual apprehension of Hermaphroditus' anatomical surplus (Groves Forthcoming). Beyond statuary, however, few scholars have located sources for Ovid's narrative aside from the Salmacis inscription and Diodorus Siculus' brief anecdote. Additionally, too many scholars choose to focus on Hermaphroditus' long attested associations with marriage rather than tackling the narrative's gender and sexuality difficulties head on (Romano 2009). In order to lend more support to the arguments for Hermaphroditus' role as a symbol for the sexually passive male (Swancutt 2007, Nugent 1989), this paper will argue that Ovid found inspiration for his Hermaphroditus in the Greek myths of Heracles' beloved, Hylas. I will propose that Ovid conflates the eromenos archetype represented by Hylas with the androgynous features earlier ascribed to Hermaphroditus in order to fully engender the passive figure in all of its sexual inscrutability. The beginning of this paper will engage in textual analysis to illuminate the similarities in plot, characterization, and topography shared by Ovid's narrative of Hermaphroditus and the narratives of Hylas in Theocritus' Idyll 13 and Book 1 of Apollonius' Argonautica. Both poems are rife with the same bucolic imagery, young male victim, translucent body of water, and, perhaps most importantly, the female rapist nymph(s)—all of which appear together in later myths of Hylas and Ovid's myth of Hermaphroditus, but nowhere else. -
Appendices G-K)
South Dakota Wildlife Action Plan Appendix A. South Dakota Game, Fish and Parks letter of intent to revise South Dakota Wildlife Action Plan and U.S. Fish and Wildlife Service response letter. South Dakota Game, Fish, and Parks Page 207 South Dakota Wildlife Action Plan Appendix A (continued). South Dakota Game, Fish and Parks letter of intent to revise South Dakota Wildlife Action Plan and U.S. Fish and Wildlife Service response letter. South Dakota Game, Fish, and Parks Page 208 South Dakota Wildlife Action Plan Appendix A (continued). South Dakota Game, Fish and Parks letter of intent to revise South Dakota Wildlife Action Plan and U.S. Fish and Wildlife Service response letter. South Dakota Game, Fish, and Parks Page 209 South Dakota Wildlife Action Plan Appendix B. Summary of suggestions from Association of Fish and Wildlife Agencies (AFWA 2012) incorporated into the South Dakota Wildlife Action Plan Revision. Chapter 1 – Prioritization ⋅ recommendation to use NatureServe methodology to assess extinction risk ⋅ include geographically-isolated subspecies ⋅ update species of greatest conservation need list early in the revision process ⋅ establish clear conservation goals ⋅ group species by habitat ⋅ emphasize coarse-scale biodiversity ⋅ consider the proportion of the species’ range that occurs within the state Chapter 2 – Species and Habitats ⋅ identify conservation opportunity areas ⋅ incorporate information other conservation planning efforts with compatible goals ⋅ clearly describe the purpose and intended uses of maps ⋅ use ecological -
Echoing Hylas : Metapoetics in Hellenistic and Roman Poetry Heerink, M.A.J
Echoing Hylas : metapoetics in Hellenistic and Roman poetry Heerink, M.A.J. Citation Heerink, M. A. J. (2010, December 2). Echoing Hylas : metapoetics in Hellenistic and Roman poetry. Retrieved from https://hdl.handle.net/1887/16194 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/16194 Note: To cite this publication please use the final published version (if applicable). ECHOING HYLAS METAPOETICS IN HELLENISTIC AND ROMAN POETRY PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR AAN DE UNIVERSITEIT LEIDEN , OP GEZAG VAN RECTOR MAGNIFICUS PROF .MR . P.F. VAN DER HEIJDEN , VOLGENS BESLUIT VAN HET COLLEGE VOOR PROMOTIES TE VERDEDIGEN OP DONDERDAG 2 DECEMBER 2010 KLOKKE 15.00 UUR DOOR MARK ANTONIUS JOHANNES HEERINK GEBOREN TE OLDENZAAL IN 1978 Promotiecommissie promotor Prof.dr. J. Booth leden Prof.dr. M.A. Harder (Rijksuniversiteit Groningen) Prof.dr. P.R. Hardie (Trinity College, Cambridge) Prof.dr. R.R. Nauta (Rijksuniversiteit Groningen) Cover illustration: detail from J.W. Waterhouse, Hylas and the Nymphs , 1896 (Manchester City Art Gallery). CONTENTS Acknowledgements vii Abbreviations ix INTRODUCTION : THE ECHO OF HYLAS 1. The myth of Hylas 1 2. The wandering echo 3 3. A metapoetical interpretation of the Hylas myth 7 4. Metapoetics in Hellenistic and Roman poetry 9 1. EPIC HYLAS : APOLLONIUS ’ ARGONAUTICA 1. Introduction 15 2. Jason vs. Heracles 16 2.1. Jason the love-hero 16 2.2. Too heavy for the Argo: Heracles in Argonautica 1 17 2.3. Jason: the best of the Argonauts 24 2.4. -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard. -
POETIC PROGRAMMES in the ORPHIC CORPUS Giuseppe
POETIC PROGRAMMES IN THE ORPHIC CORPUS Giuseppe Giangrande Un análisis histórico-literario, practicado dentro del marco del género épico, permite identificar los tópicos que los autores de las Líticas y las Argonáuticas Orficas utilizaron en la composición de sus respectivos programas poéticos. A literary-historical analysis conducted within the epic genre brings to light the topoi which the authors of the Orphic Lithica and Argonautica utilized in order to compose their respective poetic programmes. The two groups of epic poems attributed respectively to Homer and Orpheus have two main characteristics in common: in both cases, each corpus contains works written by different authors, at different times; within each corpus, many a poem (e. g. the Iliad, the Lithica) is not one einheitlich work but a conglomerate of parts, which were produced by different poets and which were cobbled together, in the form in which they have reached us, by one final elaborator. Leaving aside the obvious case represented by the Iliad, it is worth remembering that the Lithica are the result of the work done by an elaborator who has stitched together two originally independent lapidaria: this is proved by the fact that the Lithica have two different prooemia, and that there are in the poem 147 HABIS24(1993) 147-158 POETIC PROGRAMMES IN THE ORPHIC CORPUS not one, but «deux maitres de révélation» 1. As regards the Orphic Argonautica, nobody, I believe, would maintain that they were written di getto by one poet: certain scholars believe that this work is the «remaniement d'un poeme antérieur a Apollonios» 2, whilst others maintain that «le poete tardif des Argonautiques Orphiques» has utilized «des Argonautiques antérieures a celles d' Apollonios» and poems «d'inspiration hellénistique» 3• A pointer to the fact that our Orphic Argonautica are a «remaniement» of previous poems is found at the very beginning of the work: the Orphic Argonautica, exactly like the Orphic Lithica, have two prooemia. -
TSJCL Mythology
CONTEST CODE: 09 2012 TEXAS STATE JUNIOR CLASSICAL LEAGUE MYTHOLOGY TEST DIRECTIONS: Please mark the letter of the correct answer on your scantron answer sheet. 1. The myrtle and the dove are her symbols (A) Amphitrite (B) Aphrodite (C) Artemis (D) Athena 2. His wife left him and ran off to Troy with Paris; he was not happy about it and got some help (A) Agamemnon (B) Diomedes (C) Menelaus (D) Odysseus 3. This deity was the only one who worked; god of the Forge and Blacksmiths (A) Apollo (B) Hephaestus (C) Mercury (D) Neptune 4. He went searching for a bride and found Persephone (A) Aeacus (B) Hades (C) Poseidon (D) Vulcan 5. Half man, half goat, he was the patron of shepherds (A) Aeolus (B) Morpheus (C) Pan (D) Triton 6. He attempted to win the contest as Patron of Athens, but lost to Athena (A) Apollo (B) Hephaestus (C) Hermes (D) Poseidon 7. He performs Twelve Labors for his cousin as penance for crimes committed while mad (A) Aegeus (B) Heracles (C) Jason (D) Theseus 8. As punishment for opposing Zeus, he holds the Heavens on his shoulders (A) Atlas (B) Epimetheus (C) Oceanus (D) Prometheus 9. Son of Zeus, king of Crete, he ordered the Labyrinth built to house the Minotaur (A) Alpheus (B) Enipeus (C) Minos (D) Peleus 10. This wise centaur taught many heroes, including Achilles (A) Chiron (B) Eurytion (C) Nessus (D) Pholus 11. She was the Muse of Comedy (A) Amphitrite (B) Euphrosyne (C) Macaria (D) Thalia 12. She rode a white bull from her homeland to Crete and bore Zeus three sons (A) Danae (B) Europa (C) Leda (D) Semele 13. -
Volume 18 1986
Proceedings of the Virgil Society Volume 18 1986 Proceedings of the Virgil Society Volume 18 1986 Printed in Great Britain by Antony Rowe Ltd., Chippenham Ill PREFACE This volume appears much later than intended but it is hoped that the quality of the contents will do something to compensate for the delay. Not all the papers which have been jciven to the Society since the publication of the last volume of the Proceedings have been included. Some have been published elsewhere; others were not thought to be ready, as vet, for publication. The volume starts with two papers on Virgil and the monuments; it continues with examinations of the ways in the ooet used - and was used - by other writers; and it concludes with a discussion of a modern author and, fittingly, the personal reflections of the President of the Society. I should like to thank the authors, the members of the Council of the Society, and the Honorary Treasurer, Professor M. M. Willcock, for all their help. My particular scratitude goes to Debbie Christian and Alaric Watson for their work. May 1986 James Ball CONTENTS VIRGIL AND THE MONUMENTS 1 By J. B. Trapp VIRGIL AND THE MONUMENTS 19 By Elisabeth Henry FOLLOWING AFTER HERCULES, IN VIRGIL AND APOLLONIUS 47 By Denis Feeney VIRGIL AND TACITUS AGAIN 87 By Norma P. Miller VIRGIL AND CHARLES STUART CALVERLEY 107 By H. H. Huxley PRESIDENTIAL ADDRESS 133 By W. A. Camps VIRGIL AND THE MONUMENTS by J.B. Trapp I Commemoration is a universal human preoccupation. Men and women wish themselves to live on in their descendants, in what they have done, or written, or otherwise wrought. -
The Argonautica
The Argonautica Apollonius Rhodius The Argonautica Table of Contents The Argonautica........................................................................................................................................................1 Apollonius Rhodius........................................................................................................................................1 INTRODUCTION.........................................................................................................................................1 BOOK I..........................................................................................................................................................3 BOOK II.......................................................................................................................................................20 BOOK III.....................................................................................................................................................36 BOOK IV.....................................................................................................................................................52 i The Argonautica Apollonius Rhodius Translation by R.C. Seaton, 1912. INTRODUCTION Much has been written about the chronology of Alexandrian literature and the famous Library, founded by Ptolemy Soter, but the dates of the chief writers are still matters of conjecture. The birth of Apollonius Rhodius is placed by scholars at various times between 296 and 260 B.C., while -
Nereids Naiads New Brides.Pdf
Nereids Naiads New Brides Many are familiar with the rich classical literature inspired by Greek mythology, from Homer’s Iliad and Odyssey to Euripides’ Oedipus Rex. Accounts of ancient myths like these not only gave voice to men’s fears but also justified the patriarchal customs and attitudes prevalent in their society. A deep anxiety among Greek men surrounded women’s sexual passions and the need to control them. Men often viewed unmarried virgins as wild, needing to be tamed through marriage. Men doubted, however, that this would guarantee chastity, and they still feared feminine power through sexuality. Thus, women were bound by strict social expectations that set safeguards for their sexuality through separation and seclusion. The nymph—virginal yet promiscuous, chaste yet hypersexual— embodies this anxiety. The Greek word νύμφη (numphē) not only refers to a mythical being but also a “bride.” The term was used to describe a woman soon to be married or one who had already married but had not yet had her first child. This was a time of transition for girls becoming women, leaving behind their toys for housework and children. Nymphs, too, occupied this transitional space. These sexual females living outside mainstream society represented the sex lives of new brides. This exhibition invites viewers to contemplate the constraints on feminine sexuality in two contexts: in the gynaeceum, or the women’s space of ancient Greece, and in representations of nymphs throughout art history. The gynaeceum illustrates how women were separated from the males of the household, and containing objects that would have populated it in ancient Greece.