Aeneas Study Questions
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HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Rome. the Etymological Origins
ROME.THE ETYMOLOGICAL ORIGINS Enrique Cabrejas — Director Linguistic Studies, Regen Palmer (Barcelona, Spain) E-mail: [email protected] The name of Rome was always a great mystery. Through this taxonomic study of Greek and Latin language, Enrique Cabrejas gives us the keys and unpublished answers to understand the etymology of the name. For thousands of years never came to suspect, including about the founder Romulus the reasons for the name and of his brother Remus, plus the unknown place name of the Lazio of the Italian peninsula which housed the foundation of ancient Rome. Keywords: Rome, Romulus, Remus, Tiber, Lazio, Italy, Rhea Silvia, Numitor, Amulio, Titus Tatius, Aeneas, Apollo, Aphrodite, Venus, Quirites, Romans, Sabines, Latins, Ἕλενος, Greeks, Etruscans, Iberians, fortuitus casus, vis maior, force majeure, rape of the Sabine, Luperca, Capitoline wolf, Palladium, Pallas, Vesta, Troy, Plutarch, Virgil, Herodotus, Enrique Cabrejas, etymology, taxonomy, Latin, Greek, ancient history , philosophy of language, acronyms, phrases, grammar, spelling, epigraphy, epistemology. Introduction There are names that highlight by their size or their amazing story. And from Rome we know his name, also history but what is the meaning? The name of Rome was always a great mystery. There are numerous and various hypotheses on the origin, list them again would not add any value to this document. My purpose is to reveal the true and not add more conjectures. Then I’ll convey an epistemology that has been unprecedented for thousands of years. So this theory of knowledge is an argument that I could perfectly support empirically. Let me take that Rome was founded as a popular legend tells by the brothers Romulus and Remus, suckled by a she-wolf, and according to other traditions by Romulus on 21 April 753 B.C. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
A Long Time Ago, There Was a King Named Numitor Who Ruled an Ancient City in Italy Called Alba Longa
A long time ago, there was a king named Numitor who ruled an ancient city in Italy called Alba Longa. Numitor had a younger brother named Amulius who one day overthrew Numitor and took over Alba Longa. However, Amulius did not want to cause any conflict, so he killed Numitor’s male heirs and forced Numitor’s only daughter, Rhea Silvia, to become a Vestal Virgin, so she could not marry or have children. Amulius was worried that Rhea would have a son who would eventually overthrow him. However, Rhea Silvia fell in love with Mars, the Roman God of War and they had twin sons. Rhea Silvia had betrayed her vows of being a Vestal Virgin, and the penalty was usually death. However, Amulius feared the wrath of Mars and did not want to kill Rhea Silvia. Instead, King Amulius imprisoned Rhea Silvia and ordered a servant to put the twins in the River Tiber. Amulius reasoned that if the twins were to die from the elements, the city would be saved from the angry god. When the servant reached the river bank with the twins, he could not throw them in. He looked down at the babies sitting together in the basket, their tiny arms wrapped around one another and he thought about his own young sons. Instead, he placed their basket into the river and let the current carry the basket, in hope that someone would see the twins and rescue them. Eventually, a compassionate she-wolf came across the basket in the river and pulled the babies out to safety. -
The Eternal Fire of Vesta
2016 Ian McElroy All Rights Reserved THE ETERNAL FIRE OF VESTA Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy A thesis submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Classics Written under the direction of Dr. Serena Connolly And approved by ___________________________________________ ___________________________________________ ___________________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE THESIS The Eternal Fire of Vesta: Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy Thesis Director: Dr. Serena Connolly Vesta and the Vestal Virgins represented the very core of Roman cultural identity, and Augustus positioned his public image beside them to augment his political legitimacy. Through analysis of material culture, historiography, and poetry that originated during the principate of Augustus, it becomes clear that each of these sources of evidence contributes to the public image projected by the leader whom Ronald Syme considered to be the first Roman emperor. The Ara Pacis Augustae and the Res Gestae Divi Augustae embody the legacy the Emperor wished to establish, and each of these cultural works contain significant references to the Vestal Virgins. The study of history Livy undertook also emphasized the pathetic plight of Rhea Silvia as she was compelled to become a Vestal. Livy and his contemporary Dionysius of Halicarnassus explored the foundation of the Vestal Order and each writer had his own explanation about how Numa founded it. The Roman poets Virgil, Horace, Ovid, and Tibullus incorporated Vesta and the Vestals into their work in a way that offers further proof of the way Augustus insinuated himself into the fabric of Roman cultural identity by associating his public image with these honored priestesses. -
The Wolf in Virgil Lee Fratantuono
The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des -
Hut of Romulus
Rome in Fifteen Buildings I: The Hut of Romulus For half a millennium, Rome’s Palatine Hill was the center of the Mediterranean world. Home to the wealthiest and most eminent Romans of the late Republic, it came to be dominated by the residence of the Roman emperors – our word “palace,” in fact, derives from Palatine. By the first century CE, the imperial palace covered virtually the entire hill. But the southwest corner was never built over. Here, where three small temples overlooked the Circus Maximus, a hut stood in the shadow of the palace walls. The hut was more or less oval, about 15 feet long and 10 or 12 feet wide. Its walls were composed of dried mud and sticks, stiffened with a few posts; the roof was thatch. But for a thousand years, whenever this humble structure burned or fell down, as it seems to have done pretty frequently, it was rebuilt on the same site and with the same materials. This was the casa Romuli, the House of Romulus, revered as the dwelling of Rome’s founder and first king. Like us, the Romans were fascinated by the question of how a small and poor city- state could grow to conquer the Mediterranean world. Modern historians point to a number of geopolitical factors, which we’ll discuss in a few minutes. The Romans themselves, however, attributed their rise to two factors: the virtues of the early Roman people, and the will of the gods. These explanations are intertwined in the story of Romulus. Before we get into that story, it should be noted that our sources preserve several myths about the foundation of Rome, some very different from the familiar myth. -
Further Commentary Notes
Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X). -
Of Turnus in the Aeneid Michael Kelley
Tricks and Treaties: The “Trojanification” of Turnus in the Aeneid Michael Kelley, ‘18 In a poem characterized in large part by human intercourse with the divine, one of the most enigmatic augury passages of Virgil’s Aeneid occurs in Book XII, in which Juturna delivers an omen to incite the Latins toward breaking their treaty with the Trojans. The augury passage is, at a superficial level, a deceptive exhortation addressed to the Latins, but on a meta- textual, intra-textual, and inter-textual level, a foreshadowing of the downfall of Turnus and the Latins. In this paper, I will begin by illustrating how the deception within Juturna’s rhetoric and linguistic allusions to deception in the eagle apparition indicate a true meaning which supersedes Juturna’s intended trickery. Then, in demonstrating inter-textual and intra-textual paradigms for Turnus, I will explain how the omen, and the associations called for therein, actually anticipate Turnus’s impending, sacrificial death. Finally, I will address the implications of my claim, presenting an interpretation of a sympathetic Turnus and a pathetically deceived Juturna. While the omen which follows is not necessarily false, Juturna’s rhetoric, spoken in the guise of Turnus’s charioteer Metiscus,1 is marked by several rhetorical techniques that are, ultimately, fruitful in inciting the Latins toward combat. Attempting to invoke their better reason, Juturna begins the speech with several rhetorical questions that appeal to their sense of honor and their devotion to Turnus.2 Her description of the Trojans as a fatalis manus, translated by Tarrant as “a troop protected by fate,”3 is most likely sarcastic, referencing what she deems a self-important insistence on prophecy from the Trojans. -
Stories from the Early Years of Rome Latin 1 Project- 5Th 6Wks – NO LATE!!!!
Stories from the Early Years of Rome Latin 1 project- 5th 6wks – NO LATE!!!! The object of this project is to learn about the founding of Rome and stories from its early history. We will begin with the story of the Trojan war and Aeneas’s journey and end with the over throw of the kings of Rome and the early parts of the Roman republic. Section 1 - The Research and Sources– ____________________________ 1. You will have a topic to research from "the list" below. You will add your info to a wiki page you create for your topic. 2. You will need to have your wiki page completed for me to check by the date above. 3. Include your sources, properly formatted [MLA style], at the bottom of your wiki page. You must have at least 3 separate sources. Some of the topics have audio clips that can be used as one of your sources, but you must have other sources. 4. You will need to read Livy’s “ab urbe condita” [“From The Founding of the City”] in translation to get the best parts of the story. Some of you can listen to the audio files, but not all stories are there. I have linked several sources on our DISD Latin page. Section 2 – Illustration of Your Topic Presentations – ___________________ 5. Your final product will be a comic strip, comic book, or movie about the story you’ve chosen to research. [Yes, you may put your drawings on a ppt, but it should not have the whole story typed out on some slides. -
Iliad</Italic>
300 Jim Marks Jim Marks Context as Hypertext: Divine Rescue Scenes in the Iliad A number of factors determine the fates of individual characters during battlefield scenes in the Iliad. In terms of sheer body count, most of those that perish in battle seem to have been created simply in order for others to kill them.1 Typical of this group is the Trojan Cleoboulus, who receives neither dying words nor patronymic nor homeland, and appears only long enough to fall to Oileian Ajax (16.330–334). As for the more developed characters, life or death in battle is, to begin with, a function of the plot: major heroes by definition survive through most or all of the narrative, and lesser ones at least until they have performed their subsidiary roles. Hec- tor, for instance, must remain alive until the dramatic climax of the plot in Book 22, while the Trojan ally Pandarus is killed soon after he performs the necessary function of restarting the war following the duel between Menelaus and Paris in Book 3 (4.85–222, 5.243–296). The fates of at least some of these more developed characters are also influenced by the fact that they were already or were becoming established in other contexts at the time when the Iliad was taking shape. Odysseus, to take an obvious example, cannot die in the Iliad because he was a widely recognized figure best known for a successful return from Troy, as is at- tested in the Homeric Odyssey and non-Homeric poetry, artistic represen- tations, cult activity on his native Ithaca, and so on. -
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.