DOCSLIB.ORG

Aspects of Transgression in Valerius Flaccus' Argonautica Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aspects of Transgression in Valerius Flaccus' Argonautica Thesis Aspects of Transgression in Valerius Flaccus’ Argonautica Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Beverley Scott September 2012 Abstract In a literary era seemingly obsessed with transgression, Valerius’ own interest in the theme should come as no surprise. For the Romans, the Argo was the first ship in existence; thus the entire Argonautic enterprise is underpinned with transgression. This study sets out to interrogate the complex ways in which Valerius engages with transgression, offering new readings of his Argonautica in the process. He presents a world where expected boundaries are tested, or entirely collapsed, and where the characters and the narrator, grasping for something familiar upon which to hold, are left wanting. This thesis focuses on three major areas of enquiry, all fruitful in making useful conclusions when thinking about transgression in Valerius Flaccus. Firstly, the location of Jason and Medea’s wedding on the island of Peuce is examined, a seemingly insignificant departure from Apollonius Rhodius’ narrative. In fact, a number of transgressive issues are conflated at the point at which their marriage begins, enhancing the sense of unease at the union. The second section springs from the transgressive nature of Peuce’s landscape itself, in that caves, whilst suitable for weddings and sometimes the site of rapes, are often the home of monsters. Monsters pervade the text, appearing at familiar junctures (such as the Harpies, Amycus, and the sown men), but also at unexpected moments, where, for example, gods display monstrous characteristics. The ocular activity of ‘real’ monsters is shown to foreshadow the same curious phenomenon in Medea herself. She is revealed to be a potently transgressive character, and in assuming the hybrid role of character in the work and Muse, she is able to step out of the poem into a position of narrative control. The final section considers the technological aspects of Valerius’ poem against a background of science fiction receptions of the Argonautic myth, all of which are particularly concerned with exploring ideas of technological advance. Modern science fiction writers such as H. G. Wells and Robert J. Sawyer ‘use’ Argonautic themes, imagery and motifs in their work to routinely explore the hazards of progress. These modern receptions allow us to revisit the ancient material Valerius’ Argonautica, and to see that a world without boundaries is not a consequence-free world, since the far-reaching ramifications of technological advance are brought sharply into focus when read through the ‘lens’ of science fiction. The Argonautica, a poem rich in transgressive themes, is a work which poses more questions than it answers. In that final quality, the significance and potency of its transgression is revealed. Acknowledgements The research and preparation of this work was made possible through the generous financial support of The University of Liverpool, through the Alumnus Scholarship, Graduate Teaching Fellowship, and a tuition fees scholarship. In addition, the department of Archaeology, Classics and Egyptology at Liverpool has provided access to the necessary facilities, resources, and administrative support. I would like to thank my fellow PGs at Liverpool for their help, friendship, and encouragement in working towards this goal. Thanks are also due to the outstanding departmental staff at Liverpool, with whom I have worked and taught. They have kindly given me the benefit of their wisdom, advice, and guidance over the years. In addition to the department’s support staff, special thanks go to Colin Adams, Tom Harrison, Fred Jones, Graham Oliver, Christopher Tuplin, Zosia Archibald, Alexei Zadorozhnyy, Joe Skinner, Amy Coker, and Glenn Godenho. I must also express my gratitude to Andy Sawyer of the Science Fiction Foundation at Liverpool. Outside of Liverpool I would like to thank Nick Lowe, Karen Ni-Mheallaigh, Dunstan Lowe, Tony Keen, Helen Lovatt, Andrew Zissos, Tim Stover, Dalida Agri, Dani Frisby, Jamie McIntyre, Katharine Earnshaw, Gill Scott, and Shaun Hegarty, all of whom have commented on or discussed various aspects of transgression in Valerius’ poem with me. I would also like to express my gratitude to my examiners, Fiona Hobden and Emma Buckley; moreover, I owe special thanks to my supervisors, Bruce Gibson and Joanna Paul. Without their unfailing patience, constant willingness to read new drafts of my work, encouragement, advice, and helpful comments and suggestions, I would not have been able to complete this project. My final thanks are to my wonderful parents, and to Tony, who continues to be an abiding source of immense strength and inspiration to me. Abbreviations ii Introduction: 1 1: The ‘mysterious island’ of Peuce 10 1.1 The wedding of Jason and Medea: Apollonius Rhodius 13 1.2 She’s leaving home: Medea’s flight and the geography of Peuce 16 1.3 Jason and Medea’s wedding: Valerius’ version 31 1.4 The rape of Peuce 40 1.5 Initial thoughts on interpretation 51 2: The island of Peuce: rape, metamorphosis, recompense? 55 2.1 Descriptions of Peuce in other texts 57 2.2 Shadows of the future: Argonautica 1 and the Ovidian connection 64 2.3 The first time ever I saw your face: Jason and Medea meet 76 2.4 Peuce: a suitable location for this wedding 91 3: Argonautic monsters 93 3.1 Defining the monster 95 3.2 Monstrous beginnings in the Argonautica 100 3.3 Monsters as motivation for the mission 106 3.4 Home is where the heart is: monsters at Iolchos 112 4: Figurative monsters: Lemnos, Cyzicus and Colchis 123 4.1 ‘The summit of beauty and love’? Venus at Lemnos 124 4.2 ‘And Venus was her name’: Venus at Colchis 138 4.3 Cyzicus, the noua signa and the noua monstra 147 5: The monstrous and the ocular 160 5.1 Sigeum 161 5.2 Bebrycia 164 5.3 Medea the monster: eyes and vision 171 5.4 Medea’s introduction 175 5.5 Gods and Monsters at Colchis 181 5.6 It’s all in the eyes: the Teichoscopia and its aftermath 184 5.7 Medea, Monsters and the Muses 206 6: Science Fiction receptions of the Argonautic myth 221 6.1 Science Fiction – a very brief overview 227 6.2 Wells and his Argonauts – ‘The Chronic Argonauts’ (1888) 234 6.3 ‘The Argonauts of the Air’ (1895) 244 6.4 The plot of The Time Machine (1895) 247 6.5 The Golden Fleece: Sawyer’s Space Argo 254 6.6 Analysis: Science Fiction receptions of the Argonautica 259 Conclusion 266 i Abbreviations Names of ancient authors and works are abbreviated following the usage of the Oxford Latin Dictionary and Liddle & Scott’s A Greek-English Lexicon. Exceptions to this convention and abbreviations of modern works are listed below. OLD Glare, P. G. W. Oxford Latin Dictionary. Oxford: Oxford University Press. 1982. TLL Thesaurus Linguae Latinae. Leipzig: Teubner. 1900- ii Introduction Valerius Flaccus is the first of the Flavian epic poets. The period in which he lived was one of great change, in that during this time the Julio-Claudian line, members of which had reigned in Rome until the demise of Nero in 68 CE, was replaced by the Flavian dynasty. Following 69 CE, a tumultuous year of conflict known as the ‘Year of the Four Emperors’,1 Vespasian was finally installed as Emperor, and it is during his reign that Valerius produced his Argonautica. Vespasian’s leadership brought a period of calm stability to the Roman Empire. His modesty and unassuming behaviour during sweeping successes in his earlier military career showed him to be the ideal candidate to take Rome forward in this new era, and this led to an increase in Roman power, an accumulation of wealth, and an expansion of the Empire’s administrative borders. Valerius’ work begins with overt praise for the Emperor and his sons (1.7- 21),2 a stamp of approval for the new regime. Valerius’ Argonautica has recently been interpreted both as a paean to the new era,3 as a pessimistic view of progressivism,4 and conversely as deflating both arguments for progressivism and primitivism,5 all viewpoints which in some way seek to historicise the work and to link it explicitly with the new era. The Romans believed that the extent of their power was without limit, a sentiment encapsulated by the phrase imperium sine fine. This new era of calm was of course welcome, and there were undoubtedly those who felt a sense of relief that with the installation of a new and stable seat of power, the 1 Levick (1999). 2 See Nauta (2006) for more on the opening of Valerius’ poem. 3 Stover (2012). 4 M. Davis (1990). 5 Zissos (2006b). 1 Roman Empire could get back to fighting outside enemies rather than enduring the internal fighting which had plagued the administration for so long. However there were of course still boundaries to Roman power. The sentiment imperium sine fine was not a statement of true fact. Geographical limitations or steadfast opposition from enemies of the Roman plan still affected the Empire, whoever was in power. Perhaps this is a contributory factor to the en vogue theme of Flavian literature: boundary-breaking, and transgression. Epic poetry of this era deals with issues such as ‘Romanisation’, civil war, gigantomachic themes, the impacts of an accumulation of wealth, history, myth, and anachronisms, and Valerius’ work is no different. The present study sets out to examine a number of transgressive episodes to be found in the epic, to discover whether there may in fact be another way to interpret this retelling of a very old myth, and one which in fact throws the reaction to this new era into some confusion.
Load more

Recommended publications
  • 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.
    [Show full text]
  • North Pacific Research Board Project Final Report
    NORTH PACIFIC RESEARCH BOARD PROJECT FINAL REPORT Synthesis of Marine Biology and Oceanography of Southeast Alaska NPRB Project 406 Final Report Ginny L. Eckert1, Tom Weingartner2, Lisa Eisner3, Jan Straley4, Gordon Kruse5, and John Piatt6 1 Biology Program, University of Alaska Southeast, and School of Fisheries and Ocean Sciences, University of Alaska Fairbanks, 11120 Glacier Hwy., Juneau, AK 99801, (907) 796-6450, [email protected] 2 Institute of Marine Science, University of Alaska Fairbanks, P.O. Box 757220, Fairbanks, AK 99775-7220, (907) 474-7993, [email protected] 3 Auke Bay Lab, National Oceanic and Atmospheric Administration, 17109 Pt. Lena Loop Rd., Juneau, AK 99801, (907) 789-6602, [email protected] 4 University of Alaska Southeast, 1332 Seward Ave., Sitka, AK 99835, (907) 774-7779, [email protected] 5 School of Fisheries and Ocean Sciences, University of Alaska Fairbanks, 11120 Glacier Hwy., Juneau, AK 99801, (907) 796-2052, [email protected] 6 Alaska Science Center, US Geological Survey, Anchorage, AK, 360-774-0516, [email protected] August 2007 ABSTRACT This project directly responds to NPRB specific project needs, “Bring Southeast Alaska scientific background up to the status of other Alaskan waters by completing a synthesis of biological and oceanographic information”. This project successfully convened a workshop on March 30-31, 2005 at the University of Alaska Southeast to bring together representatives from different marine science disciplines and organizations to synthesize information on the marine biology and oceanography of Southeast Alaska. Thirty-eight individuals participated, including representatives of the University of Alaska and state and national agencies.
    [Show full text]
  • Manual of Mythology
    ^93 t.i CORNELL UNIVERSITY LIBRARY GIFT OF HENRY BEZIAT IN MEMORY OF ANDRE AND KATE BRADLEY BEZIAT 1944 Cornell University Library BL310 .M98 1893 and Rom No Manual of mythology. Greek « Cornell University S Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029075542 'f' liiiiiliilM^^ ^ M^ISTU^L MYTHOLOGY: GREEK AND ROMAN, NORSE, AND OLD GERMAN, HINDOO AND EGYPTIAN MYTHOLOGY. BY ALEXANDER S. MURRAY, DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM- REPRINTED FROM THE SECOND REVISED LONDON EDITION. •WITH 45 PLATES ON TINTED PAPER, REPRESENTING MORE THAN 90 MYTHOLOGICAL SUBJECTS. NEW YORK: CHARLES SCRIBNER'S SONS, 1893. ; PUBLISHERS' NOTE. Murray's Manual of Mythology has been known to the American public thus far only through the English edition. As originally published, the work was deficient in its account of the Eastern and Northern Mythology; but with these imperfections it secured a sale in this country which proved that it more nearly supplied the want which had long been felt of a compact hand-book in this study than did any other similar work. The preface to the second English edition indicates the important additions to, and changes which have been made in, the original work. Chapters upon the North- ern and Eastern Mythology have been supplied ; the descrip- tions of many of the Greek deities have been re-written accounts of the most memorable works of art, in which each deity is or was represented, have been added ; and a number iii IV PUBLISHERS NOTE.
    [Show full text]
  • Communities Investing in the Future One Happy Camper at a Time
    COMMUNITIES INVESTING IN THE FUTURE ONE HAPPY CAMPER AT A TIME To date, the Foundation for Jewish Camp partners with 41 communities* including Foundation for Jewish Camp the PJ Library, in addition 253 West 35th Street to four national camp move- 4th Floor ments and over 30 camps New York, NY 10001 to offer the One Happy tel 646-278-4546 Camper program. fax 646-278-4501 *as of September 1, 2015 www.jewishcamp.org Dear Friend of Jewish Camp, Jewish summer camps provide extraordinary laboratories for Jewish Foundation for Jewish Camp was created in 1998 as a public education, expression, and growth. Though appearing as fun and foundation dedicated to Jewish overnight camp, thanks to the games, camps create intentional and purposeful communities with leadership and vision of Robert and Elisa Spungen Bildner. robust and diverse ways for young children, teens, young adults, Over the past 18 years, the Foundation for Jewish Camp has parents, and staff to connect to Jewish life in a powerful and professionalized the field, expanded access to and intensified meaningful way. demand for camp and offered professional development programs for camp staff, elevating the level of programming at North Simply stated, Jewish camp works. To secure stronger Jewish American camps across the Jewish spectrum. communities in the future, we must invest in strengthening Jewish camps today. With your hard work and partnership, we aspire to ensure that every Jewish child benefits from immersive Jewish Today, the Foundation for Jewish Camp serves over 155 Jewish summer experiences. summer camps, close to 80,000 campers and 11,000 counselors across North America every summer.
    [Show full text]
  • Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
    Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia).
    [Show full text]
  • Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
    APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off.
    [Show full text]
  • Hellenistic Magic in the Argonautica
    Hellenistic Magic in the Argonautica While the scholarship on the magic of Apollonius’s Medea is significant, there nonetheless remains in it a curious gap: all scholars can agree that Medea is, clearly, a formidable magician, but a study of the specific elements of her magic is long overdue. This paper seeks to provide but a portion of it: an examination of Medea’s portrayal not merely as a powerful magic-user, but as four distinct aspects of the Hellenistic magician. At first glance, of course, yet another talk on witchcraft and Medea—yet another anything on witchcraft and Medea—may seem a bit like flogging a dead horse. Considering all that has been written on this topic, it may in fact, to borrow a quote from Neil Gaiman, seem a bit like flogging the greasy patch on the driveway where a dead horse once used to lie. Medea’s powers have ever been one of the first things that come to mind, when we think of her and of her legend, and when it comes to considering her as a character in Apollonius, they have certainly garnered more than their fair share of scholarly interest. Yet for all the attention paid to how Medea’s use of magic casts her in the traditional feminine role of helper-maiden, in the traditional male role as the hero, as a stock character from folk tale, or as a Nausicaa from hell (Clauss 1997), nothing has been done to evaluate the kind of magic she employs in the poem. And a look at the kind of magic Medea employs in the Argonautica is an appealing look indeed, for it is very, very different from the kind of magic she employs in Pindar; it is very different from the kind of magic she employs in Euripides.
    [Show full text]
  • Massachusetts​ ​Senior​ ​Classical​ ​League
    MASSACHUSETTS SENIOR CLASSICAL LEAGUE ​ ​ ​ ​ ​ ​ BOSTON ELITE CERTAMEN 2017 ​ ​ ​ ​ ​ ​ ROUND 1 ​ ​ 1. Congratulations to all teams for making it to Round 1 of the 2017 Boston Elite Certamen ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Invitational. Let’s get right into it with everybody’s favorite: Dramatic Interpretation. With a ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ teammate, act out the following passage, which I will read twice, that is based on a film the ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Romans might have called Istud: Dum pluit, puer lintrī chartāceā lūdēns in viā sōlus ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ currēbat et rīdēbat. Capite in signō ob neglegentiam ictō, puer lapsus est in sēmitā lūbricā ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ et lintrem āmīsit. Linter chartācea in cloācam cecidit, sed ā scurrā terribilī capta est. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Scurra nōmen Pennywise eī esse dīxit et fierī amīcus puerī simulāvit. Cōnāns lintrem ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ recipere, puer ā scurrā prehensus est. Bracchiō morsō, puer in cloācam tractus est ut ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ omnīnō vorārētur. ​ ​ BOY IS RUNNING ON THE ROAD PLAYING WITH A PAPER BOAT AND LAUGHING. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ BOY HITS HIS HEAD ON A SIGN, FALLS DOWN, AND LOSES THE BOAT. THE BOAT ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ FALLS INTO THE SEWER BUT A CLOWN IN
    [Show full text]
  • Book Xiii Neil Hopkinson
    OVID BOOK XIII edited by NEIL HOPKINSON Fellow of Trinity College, Cambridge ab published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru, UK www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011±4211, USA www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in 10/12 Baskerville and New Hellenic Greek [ao] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Ovid, 43 bc±ad 17 or 18 [Metamorphoses. Liber 13] Metamorphoses. Book xiii /Ovid;editedbyNeilHopkinson. p. cm. ± (Cambridge Greek and Latin classics) Text in Latin; introduction and commentary in English. Includes bibliographical references and index. isbn 0 521 55421 7 (hardback) isbn 0 521 55620 1 (paperback) 1. Mythology, Classical ± Poetry. 2. Metamorphosis ± Poetry. i.Hopkinson, N. ii.Title.iii. Series. pa6519.m6 a13 2000 8730.01±dc21 99-087439 isbn 0 521 55421 7 hardback isbn 0 521 55620 1 paperback CONTENTS Preface page vii Map viii±ix Introduction 1 1 Metamorphosis 1 2 Structure and themes 6 3 Lines 1±398: the Judgement of Arms 9 4 Lines 408±571: Hecuba 22 5 Lines 576±622: Memnon 27 6 Lines 632±704: Anius and his daughters 29 7 Lines 13.730±14.222: Acis, Galatea and Polyphemus; Scylla, Glaucus and Circe 34 The text and apparatus criticus 44 P.
    [Show full text]
  • 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.
    [Show full text]
  • This Month's Extravaganza •My Dinner with Dr. Stabby Part 4
    Puzzles for the Fun Side of the Brain This Month’s Extravaganza •My Dinner With Dr. Stabby Part 4 September/October 2013 * $6 http://www.pandamagazine.com © 2013. P&A Magazine. All rights reserved. P&A is published on-line 6 times per year. Single issues are $6. From the Editor Issue 45 Winners Congratulations to our first 10 correct responses! Last issue’s meta was definitely a challenge. A number Dan Katz of people felt the clues were ambiguous. For those Just a misdemeanor (Amy Swartz, Ata Gurpinar, looking to see what the clues were, and how they were Nathan Curtis, Matt Morse & Jason McIntosh) intended, check out page 25. Nathan Fung Josiah Schwab, Annelise Beck, and Rishi Gupta I did an interview with Puzzle Pile recently that you can Mark Halpin check out here: http://puzzlepile.com/2013/09/11/p- Doug Orleans, Scooter Burch, Cori Couture, Chris interview-foggy-burme/. Also be sure to follow P&A on Hescock, Martha Ingols twitter (@pandamagazine) and on Facebook. Jay Lorch Iolanthe Chronis, Brad Stronger, and Dan Puzzle Boat II continues to develop, with a launch date Stronger in March. The event will be team-oriented than a typical Brent Holman issue of P&A. Tweleve Pack team (Stvwz, Molnar, F14Rainman, Pianoman) Big apologies to Doug Orleans and Scotter Burch, who Completists (Issue 45) were left off the Completists for Issue 43. Congratulations to everyone who completed the full issue! Aaron Riccio Josiah Schwab, Annelise Beck, It’s time for dessert. Once you think you know the Andi & Gabriel Becerra Rishi Gupta answer, e-mail it to [email protected], and Andrew Araki Just a misdemeanor (Amy keep an ear to Twitter for errata announcements.
    [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]