Ovid, Metamorphoses, 3.511-733
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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. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
TRADITIONAL POETRY and the ANNALES of QUINTUS ENNIUS John Francis Fisher A
REINVENTING EPIC: TRADITIONAL POETRY AND THE ANNALES OF QUINTUS ENNIUS John Francis Fisher A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF CLASSICS SEPTEMBER 2006 UMI Number: 3223832 UMI Microform 3223832 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 © Copyright by John Francis Fisher, 2006. All rights reserved. ii Reinventing Epic: Traditional Poetry and the Annales of Quintus Ennius John Francis Fisher Abstract The present scholarship views the Annales of Quintus Ennius as a hybrid of the Latin Saturnian and Greek hexameter traditions. This configuration overlooks the influence of a larger and older tradition of Italic verbal art which manifests itself in documents such as the prayers preserved in Cato’s De agricultura in Latin, the Iguvine Tables in Umbrian, and documents in other Italic languages including Oscan and South Picene. These documents are marked by three salient features: alliterative doubling figures, figurae etymologicae, and a pool of traditional phraseology which may be traced back to Proto-Italic, the reconstructed ancestor of the Italic languages. A close examination of the fragments of the Annales reveals that all three of these markers of Italic verbal art are integral parts of the diction the poem. Ennius famously remarked that he possessed three hearts, one Latin, one Greek and one Oscan, which the second century writer Aulus Gellius understands as ability to speak three languages. -
Poetic Diction, Poetic Discourse and the Poetic Register
proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality. -
Audible Punctuation Performative Pause In
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
Dionysus Reborn Hamilton
The Advent of Dionysus: Dionysus Reborn Hamilton http://www.dionysus.org ID: 5759528 www.lulu.com The Advent of Dionysus The Advent of Dionysus Dionysus Reborn— The Doctrine and Establishment of the New Church Dennis Hamilton Copyright © 2009 by Dennis Hamilton All Rights Reserved. No part of this book may be reproduced or util- ized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher/author. Self-Published on July 20, 2009, via LuLu Publishing at www.lulu.com First Edition – 4th Draft Please be advised that this is a preliminary draft and is by no means complete. Hopefully a more complete version will be provided within the next few months. Thank You! TABLE OF CONTENTS Preface / About the Cover vii 1.0 The Church 1 2.0 230 Years 10 3.0 The Marriage 16 4.0 Gerarai / The Fourteen 21 5.0 The Advent of Dionysus 54 6.0 Symbols 61 7.0 Sexual Orientations 94 8.0 Dear David / 479 109 9.0 Chief Joseph 120 10.0 Ephraim & Manasseh 126 11.1 The Return of Odysseus / Part 1 133 11.2 The Return of Odysseus / Part 2 155 12.1 The New Church 222 12.2 An Account of Theseus 229 13.1 The New Church of the Reformed 241 13.2 King Lycurgus 250 14.0 Who was Dionysus? 260 15.0 Princess Thianna 270 16.0 Quest for Michael 281 17.0 Julie Beloved 292 18.0 Dedication to Rhea 309 Index 312 ABOUT THE COVER Universal Symbols Shown are two universal symbols: the Star of David, set within two yellow rings and a violet background (with blue outer-ring), and The Menorah or candelabrum, with seven branches and colored flames; while each shares the same number pattern, i.e., 123 + 444 = 567. -
Renaissance Anthropologies and the Conception of Man Caroline Stark
RENAISSANCE ANTHROPOLOGIES AND THE CONCEPTION OF MAN Caroline Stark Two sixteenth-century developments are credited with drastically altering the conception of man and his place in the universe, thus marking a fun- damental shift to modernity: the Protestant Reformation and subsequent Counter-Reformation, and the emergence of the New Science. This new conception of man, either as an impotent, sinful creature in need of divine grace or as a creative, active force for improving his own condition and society, would not have been possible without the earlier debate over the condition of man among Renaissance humanists.1 A number of notable humanists, including Petrarch, Facio, Manetti, and Pico della Mirandola,2 responded to the misery of man tradition, as exemplified by Pope Inno- cent III’s treatise on the misery of the human condition,3 by celebrating 1 Giovanni Gentile, Giordano Bruno e il Pensiero del Rinascimento (Florence: Le Let- tere, 1991); Eugenio Garin, “La ‘Dignitas Hominis’ e la Letteratura Patristica,” La Rinascita 1 (1938): 102–46; Giovanni Di Napoli, “ ‘Contemptus Mundi’ e ‘Dignitas Hominis’ nel Rinasci- mento,” Rivista di Filosofia Neoscolastica 48 (1956): 9–41; Paul Oskar Kristeller, Renaissance Concepts of Man, and Other Essays (New York: Harper & Row, 1972); Charles Trinkaus, “The Renaissance Idea of the Dignity of Man,” in Dictionary of the History of Ideas, ed. Philip P. Wiener (New York: Scribner, 1973), 136–47; Craven, Giovanni Pico Della Mirandola, Sym- bol of His Age: Modern Interpretations of a Renaissance Philosopher (Geneva: Droz, 1981): 21–45; Charles Trinkaus, “Themes for a Renaissance Anthropology,” in The Scope of Renais- sance Humanism, ed. -
Augustanism in Ovid's Ars Amatoria
The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria The Art of Love: Bimillennial Essays on Ovid's Ars Amatoria and Remedia Amoris Steven Green Print publication date: 2007 Print ISBN-13: 9780199277773 Published to Oxford Scholarship Online: January 2010 DOI: 10.1093/acprof:oso/9780199277773.001.0001 The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria Sergio Casali DOI:10.1093/acprof:oso/9780199277773.003.0011 Abstract and Keywords This chapter focuses on the most overtly ‘Augustan’ part of the Ars – the Parthian expedition of Gaius Caesar (1.171-228) – and invites us to read the event as an episode that exposes tensions in the dynastic family, and draws attention to the spectacle and theatricality of the Emperor's Parthian campaign. Keywords: Ars Amatoria, Remedia Amoris, Augustus, politics, Rome, Parthia, Gaius Caesar My subtitle implies that I want to strike a balance, or to discuss the question of the Augustanism/anti-Augustanism of the Ars from a theoretical point of view. In fact, I won’t be doing that. The ‘Augustan’ side of the question has been treated in the best possible way by Mario Labate in his book L’arte di farsi amare,1 the ‘anti-Augustan’ side by Alison Sharrock, particularly in her article on ‘Ovid and the Politics of Reading’,2 and the ‘aporetic’ side by Duncan Kennedy and Alessandro Barchiesi.3 I couldn’t do it better. So, the first part of my title is more relevant for my chapter. It makes fairly clear, I think, my predilection for a good old anti-Augustan approach to Ovid. -
The Example of Procris in the Ars Amatoria
UC Berkeley Cabinet of the Muses: Rosenmeyer Festschrift Title The Example of Procris in the Ars Amatoria Permalink https://escholarship.org/uc/item/5xx8c1wj Author Anderson, William S. Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California THE EXAMPLE OF PROCRIS IN THE ARS AMATORIA William S. Anderson University of California, Berkeley Ever since Richard Heinze developed his masterful study of Ovid’s narrative styles by pitting similar stories recounted in elegiac meter against those of the Metamorphoses, starting from the near-contemporaneously composed myths of Persephone of Fasti 4 and of Met. 5, a methodology of contextualization has been legitimated for exploring these materials.1 As perhaps the richest pair of such narratives, elegiac and hexameter, the story of how Cephalus loved, married, and then accidentally killed Procris in a hunting accident has generated numerous studies since Heinze’s time.2 The earliest adherents of Heinze used the account in Ars Amatoria 3.687ff. to demonstrate the greater weight and epic character of the account in Met. 7.672ff. (or of 7.796ff., to limit ourselves to the death of Procris in the Met. as the strictly parallel passage).3 In more recent years, as the “epic” character of the Met. has been called into question, the procedures of contextualization have altered somewhat. On the one hand, many studies have continued to emphasize the greater power and pathos of Procris’ death in the Met. and so called attention to features of Ars 3 that appear to be earlier and less artistic details consciously changed and improved by Ovid in the later Met. -
The Thebaid Europa, Cadmus and the Birth of Dionysus
The Thebaid Europa, Cadmus and the birth of Dionysus Caesar van Everdingen. Rape of Europa. 1650 Zeus = Io Memphis = Epaphus Poseidon = Libya Lysianassa Belus Agenor = Telephassa In the Danaid, we followed the descendants of Belus. The Thebaid follows the descendants of Agenor Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Agenor migrated to the Levant and founded Sidon • But see Josephus, Jewish Antiquities i.130 - 139 • “… for Syria borders on Egypt, and the Phoenicians, to whom Sidon belongs, dwell in Syria.” (Hdt. ii.116.6) The Levant Levant • Jericho (9000 BC) • Damascus (8000) • Biblos (7000) • Sidon (4000) Biblos Damascus Sidon Tyre Jericho Levant • Canaanites: • Aramaeans • Language, not race. • Moved to the Levant ca. 1400-1200 BC • Phoenician = • purple dye people Biblos Damascus Sidon Tyre Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Zeus appeared to Europa as a bull and carried her to Crete. • Agenor sent his sons in search of Europa • Don’t come home without her! • The Rape of Europa • Maren de Vos • 1590 Bilbao Fine Arts Museum (Spain) Image courtesy of wikimedia • Rape of Europa • Caesar van Everdingen • 1650 • Image courtesy of wikimedia • Europe Group • Albert Memorial • London, 1872. • A memorial for Albert, husband of Queen Victoria. Crete Europa = Zeus Minos Sarpedon Rhadamanthus • Asterius, king of Crete, married Europa • Minos became king of Crete • Sarpedon king of Lycia • Rhadamanthus king of Boeotia The Brothers of Europa • Phoenix • Remained in Phoenicia • Cylix • Founded -
BACCHUS in LATIN LOVE-ELEGY by Joan Ruth
BACCHUS IN LATIN LOVE-ELEGY by Joan Ruth Sandilands (B.A., Alberta, 1962) A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Classics We accept this thesis as conforming to the standard required from candidates for the degree of Master of Arts The University of British Columbia April, 1966 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for ex• tensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for finan• cial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date ii ABSTRACT The aim of this thesis is, by means of a close exa• mination of the evidence presented by the texts, to analyse the ways in which Tibullus, Propertius and Ovid treat the god Bacchus and,by so doing, to discover why Bacchus be• comes for them a patron of poetry. Chapter I, the introduction,, deals briefly with the literary background and sets the limits of the study. Chapters II, III and IV analyse the appearances of the god in the poetry of Tibullus, Propertius and Ovid respec• tively: the Tibullan Bacchus is primarily a patron of viti• culture and is associated with poetry and Amor because of this basic role; Propertius is more concerned with the god's relationship with Ariadne and the Maenads and develops a complex exemplum for his affair with Cynthia using these as major characters; Ovid makes frequent use of ideas concerning Bacchus developed by the other two poets but adds nothing really new to the concept of the god as patron of poetry. -
Paul's Concept of the Righteous Man: a Study in Words of the Root Dikh Damon D
Digital Commons @ George Fox University Western Evangelical Seminary Theses Western Evangelical Seminary 1-1-1967 Paul's Concept of the Righteous Man: A Study in Words of the Root Dikh Damon D. Heinrich PAUL'S A STUDY vlORDS OF TfiE A Presented to the Faculty of the Department of Biblical Studies Western Evangelical Seminary In Partial Fulfil of the Requirements :for the Degree Bachelor of Divinity by Damon D. Heinrich May 1967 To my wife and who '!.�ere as enthus over s as I., OF I. A OF 'l'UE 1 Introduction • • • 1 Statement of the 2 Justification of the problem 2 Limitations of the study Method of procedure II. PAUL AND BACKGROUND • 5 Cultural background • • 5 Educational background • 9 Old Testament foundation of Paul's religion • • 10 Paul's background and the his letters 11 Words of b /kl"' root iu the Septuagint • III. THE L\IkH IN OF PAUL • • 15 Lexicon Studies • • 15 • • 15 • 17 • 18 19 Scripture Studies 19 c k. Lf a.< o.r:v'l. 20 LL.Ka..c.o'w 28 iv Cl!A.PTER PAGE Ll/kt!l..t05 . • . 34 6 { I( a.{ <.(1/'C- � 37 IV. SlJM!I'iARY A.TiD CONCLUSIONS • 39 Summary • • 39 Conclusions • . 41 Understanding of the terms • 41 The spiritual requirement • 41 moral and ethical expectations 42 BIBLIOGRAPHY 44 APPENDIXES • 50 Appendix A. A/"'11 in the Septuagint • 51 B. The Righteousness of God 76 Appendix c. 1\oy/j �a.': A Brief Word Study • • • . 79 A. PRESENTATION OF STUDY Introduction. The author first became interested in the words of the Greek root S {l<'l during worl{ iu the class on the exegesis of' Romans.