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OVID's METAMORPHOSES ~ PYGMALION Latin Text Sunt Tamen
Robert Cerise OVID’S METAMORPHOSES ~ PYGMALION Latin Text Sunt tamen obscenae Venerem Propoetides ausae esse negare deam. Pro quo sua numinis ir 240 corpora cum forma primae vulgasse feruntur: utque pudor cessit sanguisque induruit oris, in rigidium parvo silicem discrimine versae. Quas quia Pygmalion aevum per crimen agentis viderat, offensus vitiis, quae plurima menti 245 femineae natura dedit, sine coniuge caelebs vivebat thalamique diu consorte carebat. Interea niveum mira feliciter arte sculpsit ebur formamque dedit, qua femina nasci nulla potest: operisque sui concepit amorem. 250 Virginis est verae facies, quam vivere credas, et, si non obstet reverentia, velle moveri: ars adeo latet arte sua. Miratur et haurit pectore Pygmalion simulati corporis ignes. Saepe manus operi temptantes admovet, an sit 255 corpus an illud ebur: nec adhuc ebur esse fatetur. Oscula dat reddique putat loquiturque tenetque, et credit tactis digitos insidere membris, et metuit, pressos veniat ne livor in artus. Et modo blanditias adhibet, modo grata puellis Robert Cerise OVID’S METAMORPHOSES ~ PYGMALION 260 munera fert illi conchas teretesque lapillos et parvas volucres et flores mille colorum liliaque pictasque pilas et ab arbore lapsas Heliadum lacrimas; ornat quoque vestibus artus, dat digitis gemmas, dat longa monilia collo: 265 aure leves bacae [pendent], redimicula pectore pendent. Cuncta decent: nec nuda minus formosa videtur. Conlocat hanc stratis concha Sidonide tinctis appellatque tori sociam, acclinataque colla mollibus in plumis, tamquam sensura, reponit. 270 Festa dies Veneris tota celeberrima Cypro venerat, et pandis inductae cornibus aurum conciderant ictae nivea cervice iuvencae, turaque fumabant: cum munere functus ad aras constitit et timide, “si di dare cuncta potestis, 275 sit coniunx, opto” non ausus “eburnea virgo” dicere Pygmalion “similis mea” dixit “eburnae.” Sensit, ut ipsa suis aderat Venus aurea festis, vota quid illa velint; et, amici numinis omen, flamma ter accensa est apicemque per aera duxit. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
How Ovid's “Pygmalion”
The Complex Relationship of Ars and Natura: How Ovid’s “Pygmalion” Employs the Power of the Artist Kelsey Littlefield ‘17 ublius Ovidius Naso, commonly known as Ovid, was a Roman poet and author who lived during the reign of P Augustus Caesar. He is renowned as poet of great variety and skill, and no work so wonderfully displays his talent as his Metamorphoses, a massive volume of mythological stories of transformation. Throughout the Metamorphoses, art and nature serve as unifying themes and are present in some capacity in each myth Ovid recounts. In particular, art and nature are prevalent in the myth of Pygmalion, a sculptor who falls in love with his ivory creation. An important contrast develops between art and nature in this story, and that contrast speaks to how the senses are woven into both. Roman literature is fond of treating the subjects of art and nature, and their contrasting figures appear again and again in the best works of the Ancient World. These two didactic terms are often used in elegiac poetry as a means of deciphering the interwoven relationships among the poet, lover, and girl (poeta, amator, and puella).1 The poet and the lover are one in the same, as the poet attempts to express the love and the experience of the beloved (i.e., the puella) to his reader. There is also, however, a sense of lament, as in all elegiac poetry, as the beloved has an unattainable quality that eventually leaves the poet/lover in despair. The girl, more specifically Pygmalion’s own beloved,2 exemplifies the erotic nature displayed in Ovid’s version of elegiac poetry and the grappling of the role that the artist plays in shaping his own art. -
Round 1 Lower Level
Round 1 Lower Level 1. What two Greeks tried to avoid the Trojan War by deception? Odysseus & Achilles -B1. Who uncovered the pretended madness of Odysseus? Palamedes -B2. Who discovered Achilles disguised as a girl? Odysseus (& Diomedes) 2. Who invaded Italy in 218 BC by crossing the Pyrenees and Alps? Hannibal -B1. Where was his first encounter with Roman troops? Ticinus River -B2. Ticinus river was only a skirmish. Where did Hannibal crush the armies of both the counsuls in December of 218? Trebia 3. You should listen to your parents when they tell you to study with the television off. I however don’t listen very well and had the TV on while I was writing these questions. I found myself watching reality TV instead of working. The first show that was on was ‘Big Brother’. What would the Romans likely have called this show if they could tune in to our broadcast? Magnus Frater -B1. I then flipped to MTV, where a new episode of ‘True Life’ was airing. What would the Romans have called that show? Vita Vera -B2. Bored with that I flipped to VH1 where there was Bret Michaels on his show ‘Rock of Love’. What would the Romans have called that show? Saxum Amoris 4. Translate this sentence into English: Oportet nos multa dona ferre. It is right/proper/necessary for us to bring many gifts. -B1. Translate this sentence into English: Decet senatorem honorare imperatorem. It is proper/fitting for the senate to honor the emperor/general. -B2. Translate this sentence into English: Paenitet me irae. -
TWO MYTHS by Fred Truck (Fred Truck [Mail Fjt] Lives in Des Moines, Iowa, and Is ACEN Systems Designer.)
TWO MYTHS by Fred Truck (Fred Truck [mail fjt] lives in Des Moines, Iowa, and is ACEN Systems Designer.) In 1912, Marcel Duchamp began a series of notes for a work of art that he began in 1915. The notes were eventually collected in a box, now known as The Green Box. The work of art he made, which he described variously as "an agricultural machine" or a "bachelor machine," and executed in terms of mechanical drafting, was The Bride Stripped Bare By Her Bachelors, Even. One of his purposes in making this revolutionary work was to put art at the service of the mind. Thus, with one stroke Duchamp opened two very fertile streams in 20th century art: conceptual art and machine art. Conceptual art is today still a very vibrant tradition in both American and European art. It has furthered the tendency, expressed and developed in other "isms" of twentieth century art, to break down the barriers between high art and whatever else exists in contemporary life. For example, conceptual art's acceptance and use of mathematics has made for some very interesting geometrical art, not to mention the Number Poems of Richard Kostelanetz. On the other hand, machine art has had its ups and downs, due largely to our changing views of machines over the course of the century. Until World War II and the atomic bomb, most people viewed the machine as the hope of the future. After Hiroshima, this view darkened...but not completely. Perhaps the most recent high machine art has experienced occurred in 1960 with Jean Tinguely's Homage to New York, although there have been successful practitioners of machine art since then, most notably Alice Aycock. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
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. -
Death and the Female Body in Homer, Vergil, and Ovid
DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis. -
2010 Massachusetts Jcl Certamen Advanced Division – Round I
2010 MASSACHUSETTS JCL CERTAMEN ADVANCED DIVISION – ROUND I 1. TU: What wife did Paris abandon when he decided to marry Helen? OENONE B1: Who saved Paris from being killed by Menelaüs in single combat? APHRODITE / VENUS B2: What mortal gave Paris the wound that caused his death? PHILOCTETES 2. TU: Please give a synonym of cunctus. T B1: Please give a synonym of subsidium. AUXILIUM B2: Please give a synonym of . 3. TU: What Latin author, born at Arpinum in 106 BC, was the author of speeches such as , and ? (MARCUS TULLIUS) CICERO B1: In which of the speeches listed in the toss-up did Cicero advocate for Pompey's command of Roman forces in the East? B2: Which of the speeches listed in the toss-up was delivered first? 4. TU: Please give the singular, present imperatives of . UNGUE, UNGUERE B1: Change the forms ungue and unguere to the plural. B2: Give the singular and plural imperatives of sum. ES, ESTE 5. TU: Give the Latin root and its meaning from which “menagerie” is derived. – TO STAY B1: Give the Latin root and its meaning from which “quarantine” is derived. - FORTY (or QUATTUOR – FOUR) B2: Give the Latin root and its meaning from which “menu” is derived. PARVUS – SMALL (accept MINUO – TO MAKE SMALLER, LESSEN, DIMINISH) 6. TU: Who was proclaimed emperor of Rome after the premature news of the death of Marcus Aurelius in 175 AD? AVIDIUS CASSIUS B1: Who was said to have encouraged Avidius Cassius’ claim to the throne because she believed Marcus Aurelius was on his deathbed and her son Commodus was too young to rule? FAUSTINA THE YOUNGER B2: Whom had Avidius Cassius succeeded earlier in 172 AD as commander of the forces in the East? LUCIUS VERUS 2010 MASSACHUSETTS JCL CERTAMEN ADVANCED DIVISION – ROUND I 7. -
Aiaa 2005 2771.Pdf (2.617Mb)
1st Space Exploration Conference: Continuing the Voyage of Discovery AIAA 2005-2771 30 January - 1 February 2005, Orlando, Florida Daedalon: A Revolutionary Morphing Spacecraft Design for Planetary Exploration Jarret M. Lafleur*, John R.Olds†, and Robert D. Braun† Georgia Institute of Technology, Atlanta, Georgia 30332 The product of a study sponsored by the NASA Institute for Advanced Concepts (NIAC), Daedalon is a spacecraft design baselined for Mars which utilizes morphing wing technology to achieve the design objective of a standard, flexible architecture for unmanned planetary exploration. This design encompasses a detailed vehicle mass and power sizing study for the Daedalon lander as well as its cruise stage and entry backshell. A cost estimation and comparison study is also performed, and qualitative functionality comparisons are made between Daedalon and other Mars lander and airplane designs. Quantitative comparisons of gross mass and range are also made, including the results of scaling an existing Mars aerial vehicle design to match Daedalon functionality. Altogether, the Daedalon launch mass is found to be 896 kg for a 12 kg payload capacity. If five such vehicles are produced, it is found that the per-mission cost can be as low as $224 million. Given the necessary morphing wing technology development, it is concluded that the Daedalon design may be a feasible and cost-effective approach to planetary exploration 20-40 years in the future. Nomenclature APXS = Alpha Proton X-ray Spectrometer ARES = Aerial Regional-scale Environmental Survey of Mars C3 = Measure of trajectory energy (square of hyperbolic excess velocity) CAD = Computer-Aided Design C&DH = Command and Data Handling GNC = Guidance, Navigation, and Control IMU = Inertial Measurement Unit Isp = Specific Impulse MER = Mars Exploration Rover NIAC = NASA Institute for Advanced Concepts RAT = Rock Abrasion Tool SSDL = Georgia Tech Space Systems Design Lab TES = Thermal Emission Spectrometer UHF = Ultra High Frequency I. -
Lucifer Or Satan Play Any Role in the Teachings Or Rituals of Freemasonry
Neither the attributes nor personification of Lucifer or Satan play any role in the teachings or rituals of Freemasonry. The topic is only of interest insofar as anti-masonic attacks have accused Freemasonry of worshiping Lucifer. The confusion stems from such 19th century masonic authors as Albert Pike and Albert G. Mackey who have used the term "luciferian" in its classical or literary sense to refer to a search for knowledge. John Robinson notes "The emphasis here should be on intent. When Albert Pike and other Masonic scholars spoke over a century ago about the "Luciferian path," or the "energies of Lucifer," they were referring to the morning star, the light bearer, the search for light; the very antithesis of dark, satanic evil." LUCIFER, also called Lucifer Calaritanus (d. c.370), bishop of Cagliari, Sardinia, was a fierce opponent of the heresy of Arianism (first proposed early in the 4th century by the Alexandrian presbyter Arius, who taught that Christ is not truly divine but a created being). To further his rigorously orthodox views, Lucifer Calaritanus founded the Luciferians, a sect that survived in scattered remnants into the early 5th century. 9 It was attacked by St. Jerome in his polemic Altercatio Luciferiani et orthodoxi ("The Dispute of the Luciferian and the Orthodox"). References to these Luciferians, without further explanation, has perhaps lead subsequent writers such asNesta H. Webster to erroneously assume that they were satanic. "Lucifer" is the Latin term originally used by the Romans to refer to the planet Venus when that planet was west of the sun and hence rose before the sun in the morning, thereby being the morning star. -
!\\E+Amoryho$E$ OXFORD APPROACHES to CLASSICAL LITERATURE
OVID'S !\\e+amoryho$e$ OXFORD APPROACHES TO CLASSICAL LITERATURE SERIES EDITORS Ka|hle^ft Qfeleman and Richard Rutherford 2OVID'S Metamorphoses ELAINE FANTHAM PLATO'S Symposium RICHARD HUNTER OXFORD UNIVERSITY PRESS Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sao Paulo Shanghai Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press 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, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Catalogmg-m-Pubhcation Data Fantham, Elaine. Ovid's Metamorphoses / Elaine Fantham. p. cm. — (Oxford approaches to classical literature) Includes bibliographical references and index. ISBN 0-19-515409-6; o-i9-5i54io-X (pbk.) i. Ovid, 43 B.c.-iy or 18 A.D. Metamorphoses 2. Fables, Latin—History and criticism. 3. Mythology, Classical, in literature. 4. Metamorphosis in literature. I. Title. II. Series. PA65ig.Mg F36 2004 873'.OI dc22 2OO3Olfil64 135798642 Printed in the United States of America on acid-free paper Index of Persons Mythical and historical persons in Metamorphoses are in lowercase; ancient and modern writers and artists are in uppercase. Achaemenides, shipwrecked com- Aeetes, King of Colchis, father of panion of Ulysses rescued by Medea, 74 Aeneas, 116 Aeneas, son of Anchises and Venus, 15, Achelous, river god, host of Theseus, 96 13, 94-95, 127 deification, 99—100, 102 Achilles, son of Peleus and Thetis, Aesculapius (Asclepius), son of Apollo 55 and Coronis, healer god brought kills Cycnus, 98, 114 to Rome from Epidaurus, 101, shot by Paris, 99 102, 109 Acis, lover of Galatea Aeson, father of Jason, 89, 107 Ads and Galatea (Poussin), fig.