Ovid's Metamorphoses, Tr. Anthony S. Kline
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The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
Dissertation Master
APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible. -
A HISTORY of the PELASGIAN THEORY. FEW Peoples Of
A HISTORY OF THE PELASGIAN THEORY. FEW peoples of the ancient world have given rise to so much controversy as the Pelasgians; and of few, after some centuries of discussion, is so little clearly established. Like the Phoenicians, the Celts, and of recent years the Teutons, they have been a peg upon which to hang all sorts of speculation ; and whenever an inconvenient circumstance has deranged the symmetry of a theory, it has been safe to ' call it Pelasgian and pass on.' One main reason for this ill-repute, into which the Pelasgian name has fallen, has been the very uncritical fashion in which the ancient statements about the Pelasgians have commonly been mishandled. It has been the custom to treat passages from Homer, from Herodotus, from Ephorus, and from Pausanias, as if they were so many interchangeable bricks to build up the speculative edifice; as if it needed no proof that genealogies found sum- marized in Pausanias or Apollodorus ' were taken by them from poems of the same class with the Theogony, or from ancient treatises, or from prevalent opinions ;' as if, further, ' if we find them mentioning the Pelasgian nation, they do at all events belong to an age when that name and people had nothing of the mystery which they bore to the eyes of the later Greeks, for instance of Strabo;' and as though (in the same passage) a statement of Stephanus of Byzantium about Pelasgians in Italy ' were evidence to the same effect, perfectly unexceptionable and as strictly historical as the case will admit of 1 No one doubts, of course, either that popular tradition may transmit, or that late writers may transcribe, statements which come from very early, and even from contemporary sources. -
The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica
THE VOYAGE OF THE ARGO AND OTHER MODES OF TRAVEL IN APOLLONIUS’ ARGONAUTICA Brian D. McPhee A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2016 Approved by: William H. Race James J. O’Hara Emily Baragwanath © 2016 Brian D. McPhee ALL RIGHTS RESERVED ii ABSTRACT Brian D. McPhee: The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica (Under the direction of William H. Race) This thesis analyzes the Argo as a vehicle for travel in Apollonius’ Argonautica: its relative strengths and weaknesses and ultimately its function as the poem’s central mythic paradigm. To establish the context for this assessment, the first section surveys other forms of travel in the poem, arranged in a hierarchy of travel proficiency ranging from divine to heroic to ordinary human mobility. The second section then examines the capabilities of the Argo and its crew in depth, concluding that the ship is situated on the edge between heroic and human travel. The third section confirms this finding by considering passages that implicitly compare the Argo with other modes of travel through juxtaposition. The conclusion follows cues from the narrator in proposing to read the Argo as a mythic paradigm for specifically human travel that functions as a metaphor for a universal and timeless human condition. iii parentibus meis “Finis origine pendet.” iv ACKNOWLEDGEMENTS First and foremost, I owe a tremendous debt of gratitude to my director and mentor, William Race. -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11. -
Reading and Writing Gellius: the Act of Composition in the Attic Nights by Austin Chapman M.A
Reading and Writing Gellius: The Act of Composition in the Attic Nights by Austin Chapman M.A. (Classics, University of Cincinnati) B.A. (History, Furman University) A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF CINCINNATI In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CLASSICS) Committee Chair: Holt Parker, Ph.D. September 2015 Abstract Here I argue that Gellius uses the loose design of his Attic Nights to interact both playfully and instructively with his reader, and that he does so in such a way that the purpose of the Nights is found to be reproductive, replicating the activities of its author (Gellius) in the minds and, ideally, the activities of its readers. To demonstrate how Gellius creates this unique author-reader relationship as the ordo of the text unfolds, I read the Nights sequentially. In close readings of three books of the Attic Nights (Books 1, 2, and 14), I explore how Gellius develops themes over the course of each book and uses those themes to articulate his relationship with the reader. In order to pick out sequences that supply meaning to a sequential reading of such an apparently disordered text, I take advantage, at least initially, of the approach of Gibson and Morello (2012) to the Letters of Pliny the Younger, where a multitude of units (epistles, in Pliny’s case) are placed so as to appear well-mixed but also create sequences in which certain patterns emerge, suggesting a loose design. Following Gibson and Morello’s model, I begin by noticing a more-or-less obvious pattern in Book 2 and “re-read” the book with that pattern in mind; through that re-reading, I discover that Gellius highlights a father-son relationship as an analogue for the relationship between himself and his reader. -
Theseus, Helen of Troy, and the House of Minos
Anistoriton Journal, vol. 11 (2008-2009) 1 Theseus, Helen of Troy, and the House of Minos By John Dana, B.A., M.L.S., M.A. Independent Scholar In February 2006 while on vacation, this author read Bettany Hughes' biography entitled Helen of Troy [1]. In Chapter 6, Ms. Hughes describes a liaison between a very young Helen and very old Theseus, king of Athens. Ms. Hughes' description generated the kernel of an idea. If Helen was about 12 years old and Theseus was about 50 years old at the time, then this incident occurred about 20 years before the beginning of the Trojan War -- assuming that Helen was about 30 years old when she journeyed to Troy. Theseus was alive about 20 years before the Trojan War! What an eye opening moment! If true, then what would be the approximate date when Theseus participated in Athens 3rd Tribute to Knossos [2] ? One could calculate an approximate date by constructing a time line or chronology. The second part of this short discourse is to use the time line. By constructing the time line one could discern something about Minos, King of Knossos. References to Minos abound , but they are somewhat contradictory. Sir Arthur Evans named a entire civilization -- the Minoan Civilization -- after him; this may have been a misnomer. There are also references to ethnicity – especially languages spoken on the Aegean Islands – relating to King Minos; these are crucial to gain an understanding of who were the Minoans and what was the Minoan Civilization. 1. The Trojan War. -- One crucial point in constructing the time line was assigning a date to the beginning of the Trojan War. -
Imitatio and Intertextuality in Sixteenth- Century English Receptions of Classical Latin Love Elegy
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Turning others leaves: imitatio and intertextuality in sixteenth- century English receptions of classical Latin love elegy http://bbktheses.da.ulcc.ac.uk/74/ Version: Full Version Citation: Grant, Linda (2014) Turning others leaves: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy. PhD thesis, Birkbeck, University of London. c 2014 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email 1 ‘Turning others’ leaves’: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy Linda Grant PhD Thesis Birkbeck, University of London 2014 2 Statement of originality I declare that this thesis is the product of my own work, and that any work used from other authors has been properly acknowledged. ------------------------------------------------------ Linda Grant, April 2014 3 Abstract This thesis situates itself within the field of classical reception, and explores the appropriation and imitation of Latin erotic elegy (Catullus, Propertius, Ovid, Sulpicia) in the love poetry of sixteenth-century England. It shows imitatio to be a dynamic, rich and sophisticated practice, one which may be productively read as both a form of intertextuality and reception, terms which capture its contingent and active nature. The readings here re-calibrate Petrarch’s canzoniere suggesting that this influential sequence of love sonnets is itself a moralised re- writing of Roman erotic elegy. By re-framing the ‘Petrarchan’ love poetry of Thomas Wyatt, Philip Sidney, John Donne and Mary Sidney as elegiac receptions, the readings here re-open these familiar texts and offer fresh interpretations of how they can be made to mean. -
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 Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
Mythicalogical Creatures
YTHICALOGICAL M CREATURES FROZEN BOOKS PHOeNIX ssociated with the ASun, a phoenix obtains new life by arising from the ashes of its predecessor. According to some sources, the phoe- nix dies in a show of flames and combus- tion, although there are other sources that claim that the leg- endary bird dies and simply decomposes Isidore of Seville are among those who before being born have contributed to the retelling and again. There are dif- transmission of the phoenix motif. ferent traditions con- In ancient Greece and Rome, the cerning the lifespan phoenix was associated with Phoeni- of the phoenix, but cia, (modern Lebanon), a civilization by most accounts the famous for its production of purple phoenix lived for 500 dye from conch shells. In the historical years before rebirth. record, the phoenix “could symbolize ] Herodotus, Lucan, renewal in general as well as the sun, Pliny the Elder, Pope time, the Empire, metempsychosis, Clement I, Lactantius, consecration, resurrection, life in the oSeville. heavenly Paradise, , Christ, Mary, virginity, the exceptional man, and certain aspects of Christian life”. The modern English noun phoenix derives from Middle English phenix (before 1150), itself from Old English fnix (around 750). A once-common typological variant is phœnix. Old English fnix was borrowed from Medieval Latin phenix, which is derived from Classical Latin phoenx. The Classical Latin phoenix rep- resents Greek phoinx. In ancient Greece and Rome, the phoenix was sometimes associated with the similar-sounding Phoenicia (modern Leba- non), a civilization famous for its production of purple dye from conch shells. A late antique etymology offered by the 6th- and 7th-century CE archbishop Isidore of Seville accordingly derives the name of the phoenix from its allegedly purple-red hue. -
Feminine Io As a Natural and Political Principle in Aeschylus' Prometheus Bound
Feminine Io as a Natural and Political Principle In Aeschylus’ Prometheus Bound Matthew Green Prometheus Bound re-enacts and addresses two colossal shifts in power: on the divine level, the transition from the natural, earth- born Titans to the rational Olympians; and on the mortal level, the emergence of political civilization. The titan Prometheus straddles these deeply related, parallel developments. He gave fire and the technical arts to humans, bestowing on them a drive to overcome and innovate. This drive requires proper direction to be good, and although political order as embodied by Zeus may represent this end, his authority at this nascent stage is not fully informed, and manifests as tyranny. I will argue that the mortal Io presents the missing link necessary for well-ordered human civilization. She embodies both a natural principle, incorporating the chthonic Titans into the new order of Olympians, and a feminine political one, creating and preserving human political order through marriage and childbirth. Prometheus’ long list of the technical arts, or techne, that he taught to humans includes astronomy, writing, animal husbandry, medicine, divination, and metallurgy.1 But throughout the play, it is made clear that these arts are neutral relative to the ends that they make possible. The possession of techne does not entail goodness or civilization, as evidenced by the savage foreigners Io is fated to encounter on her journey. The Scythian nomads, who possess transportation and weaponry, and the Chalybes, who possess metallurgy, remain savages, “wild” and without cities.2 More immediately, the chaining of Prometheus himself is effected by Hephaestus, the Olympian technician, against his own sense of justice, and for the sake of Zeus’ tyranny.