DOCSLIB.ORG

Ovid: Metamorphoses Book XIV: Bk. 14 Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ovid: Metamorphoses Book XIV: Bk. 14 Free FREE OVID: METAMORPHOSES BOOK XIV: BK. 14 PDF Ovid,K. Sara Myers | 248 pages | 18 Jan 2010 | CAMBRIDGE UNIVERSITY PRESS | 9780521007931 | English | Cambridge, United Kingdom P. Ovidius Naso, Metamorphoses, Book 14, line JavaScript seems to be disabled in your browser. For the best experience on our site, Ovid: Metamorphoses Book XIV: Bk. 14 sure to turn on Javascript in your browser. Study Guide. By Ovid. Previous Next. Book 14 Book 14 begins in flashback mode, carried over from the last book. The main story, which we haven't caught up to yet, is about Aeneas and his wanderings. Glaucus swam to the island of Circe, a crazy sorceress lady. Her signature move was transforming people into animals. He asked her for help with his girl problem: Scylla. Circe said, "Forget about Scylla. I'm in love with you too! Come, be with me! She put some weird herbs in the water where Scylla planned to go swimming. Then, when Scylla waded into the water, her entire body below the waist turned into dogs. Ovid tells us that she got her revenge on Circe by trying to eat Ulysses Odysseuswhom Circe loved, when he tried to sail through the straits of Messina. Of course, she didn't succeed in catching Ulysses. He also says that she would have killed Aeneas too—except that she had been turned into stone before he sailed through the strait. When did that happen? No more questions. Flashback's over. Let's see what's up with Aeneas and his men. After sailing through the Strait of Messina, Aeneas and his men are once again within range of Ovid: Metamorphoses Book XIV: Bk. 14. But then, once again, a storm comes up and blows them of course. Dido and Aeneas have a fling, but then he has to go and she kills herself. Hoo boy. Then, after sailing around some more, Aeneas eventually comes to Cumae, a city in Italy. There he meets the Sibyl, a prophetess. He asks her if she could take him to see his father, Anchises, in the Underworld. Aeneas's father had died along the way, but Ovid neglected to tell us about it—you'll have to read Virgil's Aeneid to get the whole story. The Sibyl's response is, "Mmmm On their way back to daylight, Aeneas tells her Ovid: Metamorphoses Book XIV: Bk. 14, you're really awesome. You must be a goddess. You have to let me set up a temple for you. I'm just a mortal. I could have been immortal, the god Apollo offered me that—provided I would sleep with him. But I refused. Then he offered me a wish. I gathered up some dust and said, 'Give me as many years of life as there are grains of dust in my hand. He probably would have given it to me if I'd asked, but I wanted to keep my virginity. I'm about seven centuries old now, and Ovid: Metamorphoses Book XIV: Bk. 14 just keep getting more and more wrinkly. Ovid tells us that this is where a man called Macareus of Neritus, an old comrade of Ulysses, once landed. There he met Achaemenides, who was also an old comrade of Ulysses. Macareus said, "Hey, man, how's it going? What brings you to these parts? I thought you were, like, dead and stuff. If you're wondering what the heck this is all about, check out Shmoop piece on The OdysseyBook 9. Remember: Ulysses is the Latin name for Odysseus; they're the same guy. Achaemenides told Macareus that he was saved when Aeneas happened to show up, and he was able to hitch a ride away from there. Fancy that, a Trojan saving a Greek! Then Macareus said, "Wow, that was a lucky break. Macareus was with Ulysses when they sailed away from the Cyclops and left Achaemenides behind, but he doesn't mention that factand when they reached the palace of Aeolus, king of the winds. Aeolus stuffed all the winds into a bag—all except for one; the one that would take them homeward. Ovid: Metamorphoses Book XIV: Bk. 14 he gave the bag to Ulysses. Everything went fine for nine days, until the men got curious about what was in the bag. They opened it and—whoops! They were blown off course. Then they went to Ovid: Metamorphoses Book XIV: Bk. 14 land of the Laestrygonians. Macareus was part of an expedition to meet with the king of the Laestrygonians. He lived to tell—barely. That's because the Laestrygonians were cannibals. Only one of Ulysses's ships escaped; Macareus was on it. Then they sailed to the island of Circe, the sorceress. Macareus was part of a delegation to scope the lady out. She welcomed them nicely, and gave them a sweet drink. What they didn't know was that she had put a drug in it. So, when the Greeks drank, they all turned into hogs—all, that is, except one Ovid: Metamorphoses Book XIV: Bk. 14 Eurylochus: He hadn't touched the drink. Eurylochus went and reported to Ulysses what had happened. He came to the rescue, aided by the gods who sent Mercury to give him the plant "moly" as protection against Circe's magic. Ulysses defeated Circe and became her lover. As a favor, he asked her to turn his men back into humans. She did this. The Greeks ended up spending a whole year at Circe's place. Macareus became friendly with one of the nymphs who helped Circe out. One day, she showed him a statue of a young man with a woodpecker on his head. Macareus said, "What's up with that? The nymph said that the statue was of Picus, the son of the Titan Saturn. Picus was the king of Latium, a region in Italy. He was very handsome, and all the ladies had crushes on him, but he was only interested in one nymph, called Canens, who had a lovely singing voice. Eventually, he married her. One day, Picus was out hunting. Circe, who happened to be in the neighborhood, also happened to catch sight of him. Immediately, she started burning with desire for him. To catch him, she created an illusion of a boar, which she sent across Picus's path; then, she made the boar run into the woods. Picus's attention was piqued. He ran after the beast. Then, Circe used some tricks to make the forest super- complicated and confusing, so he got lost and separated from his companions. Now Circe thought she spied her chance. She appeared before him and demanded that he sleep with her. But Picus said, "No way: I'm staying faithful to my Canens. When Picus's men showed up, they tried to punish Circe, but she spooked them with Ovid: Metamorphoses Book XIV: Bk. 14 powerful display of magic; then she turned them into animals. Canens, meanwhile, was waiting at home for her husband. And waiting. She waited so long that she wasted away to nothing. To this day, however, Macareus said, they call the place she died "Canens. That's the Ovid: Metamorphoses Book XIV: Bk. 14 of Ovid's little interlude about Macareus and Achaemenides. Now he shifts back to the main story: Aeneas. Aeneas has just finished burying his nurse, Caieta. Yes it was, but not yet Ovid was being a little sneaky ; it only got that name after Aeneas buried his nurse there. The Metamorphoses Book 14 | Shmoop Translated by A. This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non-commercial purpose. Zancle was left behind as well, and the walls of Rhegium opposite, and the dangerous strait, hemmed in between twin coastlines, that marks the boundary between Sicily and Italian Ausonia. From there, swimming with mighty strokes, across the Tyrrhenian Sea, he came to the grassy hills and the halls of Circedaughter of the Sunfilled with transformed beasts. You alone can help this love of mine, if I seem worthy of help. No one knows better than I, Titanesswhat power herbs have, since I was transmuted by them. I am ashamed to tell of the prayers and promises, the blandishments I used, words that were scorned. If there is any power in charms, utter a charm from your sacred lips: or, if herbs are more potent, use the proven strength of active herbs. I trust you not to cure me, or heal me, of these wounds: my love cannot end: only let her feel this heat. Besides, you were worth courting and certainly could be courtedand if you offer any hope, believe me you will be too. If you doubt it, and have no faith in your attractions, well, I, though I am a goddess, daughter of shining Sol, though I possess such powers of herbs and charms, I promise to be yours. Spurn the spurner, repay the admirer, and, in one act, be twice revenged. Offended at his rejection of her passion, she at once ground noxious herbs with foul juices, and joined the spells of Hecate to their grinding. There was a little pool, curved in a smooth arc, dear to Scylla for its peacefulness. When the sun was strongest, at the zenith, and from its heights made shortest shadows, she retreated there from the heat of sky and sea. This, the goddess tainted in advance and contaminated with her monstrous poison. She sprinkled the liquid squeezed from harmful roots, and muttered a mysterious incantation, dark with strange words, thrice nine times, in magical utterance.
Load more

Recommended publications
  • Aeneid Vi Commentary
    AENEID VI COMMENTARY They have finally arrived in Italy after 7 years. L 1 refers to A’s last farewell to Palinurus. P 147 Eucben Cumae – Cumae was the first Greek settlement in Italy and was founded by settlers from Chalcis in Eubaca. Western Land – Italy. 38-36 base of operations in navl war between Augustus and Pompey Sextus. Sibyl – the priestess of Apollo; Sibylla was a type – name for such oracular priestesses. The collection of her oracles known s the sibylline books played a very considerable part in Roman Religion; during Augustus’s reign they were transferred to the temple of Apollo on the Palatine. A told to consult Sibyl by Helenus Bk 3, Ancjises Bk 5. Can still visit Sibyl’s cave today. Daedalus – An Athenian craftsman/inventor helped Pasiphae wife of Minoo, King of Crete, to satisfy her love for the bull, a love which Venus, angered, had implanted in her. As a result of this the hybrid monster called the Minotaur was born to her; it was kept in a labyrinth built by Daedalus and fed on human sacrifices. After Daedalus had helped Theseus solve the maze, he was imprisoned but escaped by making himself wings and flying North to Cumae. Androgeos – A son of Minos demanded the payment of seven youths and seven maidens each year as a sacrifice to the Minotaur. Cnossos – the chief town of Crete. P 148 Princess Ariadne – daughter of Persiphae and Minos; she fell in love with Theseus, who killed the Minotaur and found his way out of the maze by the thread which Ariadne at Daedalus’ instigation gave him.
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • 2017 Njcl Certamen Advanced Division Round One
    2017 NJCL CERTAMEN ADVANCED DIVISION ROUND ONE 1. What author born on July 12, 100 BC led an illustrious political and military life, the latter of which he documented in painstaking detail in his Commentāriī dē Bellō Gallicō? (C. JULIUS) CAESAR B1: While there are eight books total in the Commentāriī dē Bellō Gallicō, Caesar only wrote the first seven. What lieutenant wrote the final book of his commentaries? (A.) HIRTIUS B2: What work of Caesar covered his war against Pompey? (COMMENTĀRIĪ) DĒ BELLŌ CĪVĪLĪ / BELLUM CĪVĪLE 2. Using one word, say in Latin: “It’s getting late.” (AD)VESPERĀSCIT B1: Now say in Latin using one word: “The dew will fall.” RŌRĀBIT B2: Now say in Latin using two words: “It was raining for a rather long time.” DIŪTIUS PLUĒBAT 3. What son of Gaia and Tartarus terrorized the gods until he was buried under Mt. Aetna? TYPH(A)ON / TYPHOEUS B1: After Typhon cut out Zeus’ sinews with a sickle, what two deities stole them back? HERMES AND AEGIPAN B2: Typhon fathered a passel of other monsters with what snake lady? ECHIDNA 4. According to tradition, what two small groups fought a duel to determine the outcome of a war between Rome and Alba Longa during the reign of Tullus Hostilius? HORĀTIĪ AND CŪRIĀTIĪ B1: After the duel, what incited the one surviving Horatius to kill his sister? SHE WEPT FOR ONE OF THE CURIATII TO WHOM SHE HAD BEEN BETROTHED B2: What was the name of the opposing ruler of Alba Longa? METTIUS FŪFETIUS 5. Dēscrībāmus nunc proprietātēs dictiōnum in hāc sententiā: Nūllum est iam dictum quod nōn dictum sit prius.
    [Show full text]
  • Representing Roman Female Suicide. Phd Thesis
    GUILT, REDEMPTION AND RECEPTION: REPRESENTING ROMAN FEMALE SUICIDE ELEANOR RUTH GLENDINNING, BA (Hons) MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis examines representations of Roman female suicide in a variety of genres and periods from the history and poetry of the Augustan age (especially Livy, Ovid, Horace, Propertius and Vergil), through the drama and history of the early Principate (particularly Seneca and Tacitus), to some of the Church fathers (Tertullian, Jerome and Augustine) and martyr acts of Late Antiquity. The thesis explores how the highly ambiguous and provocative act of female suicide was developed, adapted and reformulated in historical, poetic, dramatic and political narratives. The writers of antiquity continually appropriated this controversial motif in order to comment on and evoke debates about issues relating to the moral, social and political concerns of their day: the ethics of a voluntary death, attitudes towards female sexuality, the uses and abuses of power, and traditionally expected female behaviour. In different literary contexts, and in different periods of Roman history, writers and thinkers engaged in this same intellectual exercise by utilising the suicidal female figure in their works. ii Acknowledgments I would like to thank the Arts and Humanities Research Council for providing the financial assistance necessary for me to carry out this research. The Roman Society also awarded a bursary that allowed me to undertake research at the Fondation Hardt pour I'etude de I'antiquite classique, in Geneva, Switzerland (June 2009). I am also grateful for the CAS Gender Histories bursary award which aided me while making revisions to the original thesis.
    [Show full text]
  • Pausanias' Description of Greece
    BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA.
    [Show full text]
  • Duke Certamen Intermediate Questions 2018
    DUKE CERTAMEN 2018 INTERMEDIATE DIVISION ROUND 1 1. Which emperor reformed the Praetorian Guard, replacing it with his loyal provincial troops upon his ascension? SEPTIMIUS SEVERUS B1: At which city did his troops declare Severus emperor? CARNUNTUM B2: Which of his two main rivals did Severus defeat first? PESCENNIUS NIGER 2. Differentiate in meaning between lupus and lepus. WOLF and HARE / RABBIT B1: Give a synonym for the animal bōs. VACCA / VITULA B2: Give either Latin animal from which we derive “porpoise.” PORCUS or PISCIS 3. Europa, Minos, Procris, and Amphitryon all owned what infallible hunting hound? LAELAPS B1: What husband of Procris tried to use Laelaps to hunt the Teumessian vixen? CEPHALUS B2: According to Hyginus, Cephalus was the father of what Ithacan man? LAERTES 4. Give the Latin and English for the abbreviation Rx. RECIPE – TAKE B1: If your prescription label tells you to take your medication prn., how often should you take it? AS NEEDED B2: Give the Latin and English for the abbreviation gtt. GUTTAE – DROPS 5. Translate the following sentence from Latin to English: Mulierēs quae ducēs factae erant fortiōrēs quam omnēs erant. THE WOMEN WHO HAD BECOME / BEEN MADE LEADERS WERE STRONGER / BRAVER THAN ALL B1: Translate this sentence: Hannibal ipse cum hīs mulieribus pūgnāre nōluit. HANNIBAL HIMSELF DID NOT WANT TO FIGHT (WITH) THESE WOMEN B2: Finally translate: Urbe servātā dūcibus triumphī ā cīvibus datī sunt. AFTER THE CITY WAS SAVED / WITH THE CITY HAVING BEEN SAVED, TRIUMPHS WERE GIVEN TO/FOR THE LEADERS BY THE CITIZENS 6. What son of Cephissus and Liriope fell in love with his own reflection, died of starvation, and was turned into a flower? NARCISSUS B1.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • What Is Greek About Greek Mythology?
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive.
    [Show full text]
  • Lecture 14 Aeneid 12: War in Italy MDS1TRW the Roman World: Myth
    MDS1TRW The Roman World: Myth and Empire Lecture 14 Aeneid 12: War in Italy hp://www.eBay.co.uk/itm/The-Aeneid-Rare-Card-LieBiG-Set-Part-II-Greece-Greek-Camille-Nisus-Gladiator/130940254241?_trksid=p2047675.m1850&_trkparms=aid%3D222002%26alGo%3DSIC.FIT%26ao %3D1%26asc%3D11%26meid%3D1158694072794277908%26pid%3D100011%26prG%3D1005%26rk%3D4%26rkt%3D5%26sd%3D380663535810%26 AENEID BOOKS 7-12 WAR IN LATIUM 7: Allecto ‘infects’ Turnus and Amata 8: Aeneas visits Evander at Pallanteum (’Rome’) 9: NiGht raid: Nisus and Euryalus (c.f. Iliad 10 Doloneia) 10: Turnus vs. Pallas, Aeneas vs. Mezenaus 11: MourninG for Pallas; truce; Camilla 12: Final duel AENEID BOOKS 7-12: THE ‘GREATER WORK’ New proem: 7.40 (p.141) – ‘Come now, Erato’ Use of first person sinGular ‘I shall tell’ REPLAYING THE TROJAN WAR Love trianGles: • Helen, Menelaus, Paris • Lavinia, Turnus, Aeneas • c.f. 7.96 (p.143) oracle: no marriage to a Lan Sibyl’s prophey (6.82f. = p.117) • ‘A second Achilles’ [Iliad and anGer of Achilles] • son of a Goddess – Venilia // Thes • N.B. father Daunus, Rutulian king (//Priam?) • sister Juturna (// Apollo – protector of Hector) • A. & T. as Achilles and Hector: But which is which? Book of fathers and sons 1. Turnus vs. Pallas 10.440-509 • aer Pallas’ aristeia • T: ‘Pallas is mine, and mine alone. I wish his father were here to see it.’ • Pallas also Bloodthirsty (10.459f.) • c.f. Evander’s paranG speech (8.560f. pp.166): ‘my only source of joy’ • P. killed in spear comBat • T. strips Body – Belt // Hector & Patroclus (Iliad 18) FUROR AND PIETAS IN BOOK 10 Aeneas: revenGe and furor • vicams (incl.
    [Show full text]
  • The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
    The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
    [Show full text]
  • Virgil's Aeneid
    V1.0 / By Greeny Virgil’s Aeneid Jumpchain “I sing of arms and the man...” Welcome jumper, to one of the great cornerstones of Western literature, The crowning glory of Rome, an epic that has echoed throughout the ages, the tale of Aeneas, the Trojan who was to begin the undying destiny of Rome. If this all sounds a little pompous, well I’m afraid that just comes with the territory. You’ll be entering the world of Virgil, with his colourful adaptations and reinterpretations of Greek mythology, all serving to espouse the eternal glory of the Roman empire. You will begin at the end of the Trojan War, while Aeneas and his family are fleeing at the behest of the gods, unknowingly destined for greater things. At the same time, far to the West, Dido will be founding the colony of Carthage, and in Italy the Latins will be living a peaceful existence, ignorant of the war that will soon rock their shores. Unburdened by fate, it will be up to you to decide your destiny in this relentlessly Roman world. Perhaps these will help you on your journey: 1000 Denarii Location Before the epic of Jumper can get going, we must first set the scene. You may choose freely from any of the following locations. Troy Perhaps not the best time to be here, Jumper. The Greeks have just left an enormous wooden horse outside the gates in honour of Athene, and the Trojans have wheeled it in to the city, under the artful deceptions of Sinon. Already as you arrive, the first Greeks will be pouring out the ship under cover of night.
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]